AT    LOS  ANGELES 


PADEREWSM 


>AND©HIS©ART 


\ 


\ 


ETfHEMYTHNCK 


Women  Are  Naturally 

interested  in  dress  linings  that  are 
warranted  not  to  crock  and  to 
withstand  washing  and  perspira- 
tion, without  having  any  delete- 
rious effect  on  the  color  or  brill- 
iancy of  finish.  "Midnight  Fast 
Black"  will  retain  its  pristine 
freshness  to  the  end  and  last 
longer  than  the  garment  itself. 
See  that  you  get  it. 

For  sale  by  all  leading  dry-goods 
.  stores  . 


"  Only  One 
Waist  in 
the  World 
for  Me," 


They  all  sing  after  they 
once  wear  the 


Genuine  Jackson 
Corset  Waists. 


American  women  only  aing  such  high  praiae  after 
they  have  tested  the  comfort-giving  merit*  of  the 


Genuine  Jackson 
Corset  Waist. 

Price  $  1 .25  each,  postpaid. 
LADY  AGENTS  WANTED. 

Jackson  Corset  Co., 

JACKSON,  MICH. 


Costless  comfort 

and  the  personification  of 
Elegance — the  Cluze  Patent 
Thumb  Glove.  Ever  wear 
it — ever  see  it  ?  It  doesn't 
strain  or  tear.  The  peculiar 
yet  simple  cut  of  the  thumb- 
piece  makes  it  an  ideal  glove. 
There  is  not  a  misstitch  in 
its  entire  construction.  It's 
the  only  glove  that  will  fit 
every  kind  of  hand  comfort- 
ably and  handsomely.  The 
cost  of  the  Cluze  Patent 
Thumb  Glove  isn't  any  more 
than  for  imperfect-fitting  and 
one-day-wearing  kinds. 


You  have 

tried  dozens  of  corsets 
without  obtaining  perfect  satisfaction. 
The  next  time  ask  for  the  "  R  &  G  " — 
an  American  corset  for  American 
women. 


*         THIS  WILL  .  ,  . 
7%         INTEREST  YOU 


THE      VERY    NEWEST     PRODUCTION     IN     HIGH-CLASS 
COTTOX    PILE    FABRICS. 


THE    "  " 


.  B. 


Boulevard  Velvet. 


QUALITY  99. 

24    INCHES    WIDE,    IN    JET    BLACK,    BLUE    BLACK,  AND 
....  ALL    COLORS  .  .  . 

ENTIRELY  NEW.      IT  HAS  NO  EQUAL. 


FOR  WRAPS,   CAPES,   SLEEVES, 
TRIMMINGS,   ETC. 


See    that    Each    Yard    is  -       .      .  VfilVBt. 

Stamped 


Leading  Dry  Goods  Stores  Sell  It 


Gas 


Used  in  a  .  .  . 


The  Ideal  Fuel, 

Vulcan 


Gas  Hot  Air  Furnace. 


Scrupulous  Cleanliness. 
Exact  Regulation. 

Pure  Warm  Air. 

No    Dust.        No    Deleterious  Gases. 


The  practical  effect  of  the  action  of  the  VULCAN 
GAS  FURNACE  during  the  severe  season  of  1894-95  is 
witnessed  by  the  following 

TESTIMONIALS. 

"I  removed  the  coal  furnace  with  its  attendant  annoyances — 
coal-gas,  dust,  dirt,  and  uncertain  heat — and  substituted  your 
furnace.  .  .  .  No  inducement  would  tempt  me  to  return  to 
the  use  of  coal.  .  .  .  " 

"The  desired  temperature  in  any  portion  of  the  house  was 
always  obtainable,  and  for  the  first  time  we  were  able  to  have  the 
dining  room  properly  heated.  .  .  .  The  entire  absence  of  dust 
and  noxious  gases,  resultant  from  the  use  of  coal,  proved  most 
.beneficial  to  the  health  of  the  family.  .  .  . " 

"  I  used  during  the  severely  cold  weather  of  last  winter  one  of 
your  Gas  Furnaces  as  an  auxiliary  to  our  regular  furnace  to  heat 
the  rooms  in  my  house  having  a  northerly  exposure,  and  testify 
cheerfully  that  it  answered  the  purpose  admirably." 


.  .  .  Our  Illustrated  Pamphlet  will  tell  you  more  .  .  . 


The  Vulcan  Gas  Heating  Company, 

No.  19  West  42d  St.,  New  York. 


A  Genuine   Violet   Perfume. 

THE    NEW    CROWN    VIOLETTE. 


* 


It  is  not  generally  known  that  much  of 
what  is  sold  as  Violet  Perfume  contains 
no  violet  at  all,  but  is  an  imitation  of  vio- 
let made  from  chemicals.  The  Crown 
Perfumery  Co.  have  given  great  at- 
tention to  tins  popular  odor  and  are  pro- 
ducing it  in  great  perfection.  No  Chem- 
icals whatever  are  used,  but  the 
genuine  essence  of  the  flowers,  gathered 
as  shown  above  from  the  violet  gardens  of 
the  Riviera.  This  essence  is  highly 
concentrated  and  gives,  in  great 
perfection, 

The  delightful  odor  of 
the  flower  itself, 

at  once  refined, 
delicate,  rich, 
and  lasting. 
Small  fac-simile 
bottles  of  this 
new  Crown 


Violette   have  been  prepared  in  c.der 
that  ladies  may  test  its  quality.    ., 

Ask  your  Druggist  for  the 
New  Crown  Violette. 

Price,  in  a  dainty  casket, 
S1.50. 

By  sending  this  amount  to  Caswell,  Massey 
&  Co.,  New  York;  Melvin  &  Badger  or 
T.  Metcalf  Co. .Boston;  Geo.  B.  Evans, 
Phila.;  E.  P  Mertz,  Washn.;  Wilmot 
J.  Hall  &  Co.,  Cin  ,  or  W.  C.  Scup- 
ham,  Chicago,  a  bottle  of  this  delight- 
ful perfume  will  be  sent,  prepaid, 
to  any  address: 
or  by  sending  12 
cents  in  stamps 
a  f  ac-simile  Bijou 
bottle  will  be 
sent. 


SPECIAL    PRODUCTION    OF    THE 

Crown  Perfumery  Co., 

177,  New  Bond  Street, 

MAKERS  OF  THE  UNIVERSAL  FAVORITES 

CRAB-APPLE    BLOSSOMS 
and  MATSUKITA  PERFUMES,  and  the  CROWN  LAVENDER  SALT?, 

ASKED    KOR    A.LL    OVER    THB    WORLD. 


PATENT 
INVISIBLE 


DOUBLY     WOVEN 

2 

PAIRS 
IN 

I 


SILK    GLOVES  with 
PATENT      WOVEN 
TIPS    are     the    only 
gloves   combining 
perfect  fit  and 
durability  at  the 
finger  ends. 


EVERY  PAIR 
GUARANTEED. 


TIPS 

FOR 

•SILK- 
GLOVES. 


TREBLY     WOVEN 

3 

PAIRS 
IN 

1 


SILK    GLOVES   with 
PATENT     WOVEN 
TIPS     are    the    only 
gloves  combining 
perfect  fit  and 
durability  at  the 
finger  ends. 


EVERY  PAIR 
GUARANTEED. 


BE  SURE   YOU   ASK   FOR  WOVEN   TIPS  WHEN    BUYING   GLOVES. 

These  TIPS  are  not  sewed  or  pasted  in  the  glove,  but  are  DOUBLY  and 
TREBLY  WOVEN  in  the  FINGER  ENDS  like  double  knees,  heels,  toes,  and 
soles  in  all  kinds  of  HOSIERY  ;  the  extra  threads  used  make  them  remarkably 
durable  without  in  any  way  injuring  the  fit  of  Gloves. 

FOR   SALE   BY   ALL   LEADING    RETAIL   DRY=GOODS   STORES   AND 
GLOVE=DEALERS   IN   THE   WORLD. 

U.  5.  PRICES:  50c.,  75c.,  $1.00,  $1.25,  $1.50. 

American  Finger=Tipped  Glove 

447  BROADWAY,  NEW  YORK. 


London,  E.  C.,  England: 
4  Falcon  Ave.,  Falcon  St. 


Chemnitz.  Germany : 
20  Kronen  Strasse. 


Nuernberg,    Bavaria : 
9  Gleisbuhl  Strasse. 


IV 


.     . ASK   FOR  .  . . 

The    New    Manhattan 

MOHAIR  SKIRT  BINDING. 


Yarn=DyeJ, 
Steam-Shrunk 
and  Ready 

for  Use, 


15X17  MERCER  ST. 
NEW  ~ORK, 


Your  Beautiful  Face 


loses  its  charm  if  streaky,  bleached,  or  ugly 
gray  hair  crowns  it.  Keep'it  a  beautiful  natural 
color,  if  it  is  streaky  or  gray,  or  make  it  any  de- 
sired color  if  it  is  bleached  and  have  it  glossy 
and  fresh  looking  by  using 

THE  IMPERIAL  HAIR  REGENERATOR 

Used  and  highly  praised  by  Patti,  Davenport, 
Langtry,  the  Princess  of  Wai's,  and  thousands 
uf  other  women.  //  you  wish  ive  will  color  a  lock 
of  ymr  hair  free  Clean,  odorless,  lasting.  It 
does  not  contain  an  atom  of  poisonous  matter, 
will  not  stain  the  scalp,  permits  bathing,  curl- 
ing, or  crimping.  Seven  colors  cover  all  shades. 
What  is  yours  ? 

No.  1.  Black;  No.  2,  Dark  Brown  ;  No.  3,  Medi- 
um Brown  ;  No.  4,  Chestnut ;  No  5,  Light  Chest- 
nut ;  No.  6,  Gold  Blond ;  No.  7,  Drab  or  Blond 
Cendree  Price,  $1 .50  and  $3  00. 

All  druggists  and  hair-dressers  sett  it.  Write 
to  us  for  descriptive  catalogue. 

IMPERIAL  CHEMICAL  MFG.   CO., 

FIFTH  AVENUE, 

Bet.  30th  and  31st  Sts  ,  New  York. 
Take  elevator. 


IT  HAS   LONG   BEEN 


by  the  best  Physicians  and  appreciated  by  a  multitude  of 
wearers  that 


grateful 


Natural  Wool  Underclothing 

is  the  best  of  all  materials  for  that  purpose,  as  it  absorbs  at  once  all 
perspiration,  is  a  non-conductor  of  cold,  and  keeps  the  body  always  at 
a  normal  temperature. 

These  things  prevent  colds  and  pneumonia,  greatly  assist  those 
who  are  disposed  to  lung,  stomach,  bowel,  or  rheumatic  troubles. 

These  goods  here  advertised  are  made  in  Germany  on  the  latest 
improved  shapes  and  fit  the  form  closely.  The  material  and  workman- 
ship are  superior  in  all  respects. 

They  are  the  best  goods  of  this  sort  manufactured  and  are  sold 
generally  by  the  Retailers  throughout  the  country  under  the  trade 
name  of 

"HOHENZOLLERN." 

If  you  fail  to  find  them  where  you  are  in  the  habit  of  trading,  do 
not  be'misled  by  the  offer  of  something  else  "just  as  good,"  but  write 
us  and  we  will  inform  you  where  they  may  be  obtained. 

Dealers  should  note  that  this  "specialty  "  line  is  carried  in  stock 
in  New  York,  and  is  one  of  great  value  to  any  well-regulated  Dry- 
Goods  retail  house. 

The  goods  are  made  up  from  a  variety  of  grades  and  weights  of 
material,  and  all  sorts  of  garments  for  women,  children,  and  men. 


HENRY  N.  PALMER,  475-478  BROOME  ST.,  NEW  YORK. 


The  "ONEITA"   Union  Suit 

FOR  LADIES,  MISSES,  AND  INFANTS. 

In  colors  white,  gray,  and  black,  and  in.  qualities  all  cotton, 
cotton  and  wool,  all  wool,  silk  and  wool,  all  silk. 


1.  More  easily  and 
make. 

2.  Entirely    Elas- 
tic   in    every   way, 
and    perfectly   sell- 
adjustable. 

3.  No  buttons  un- 
der   corset    which 
hurt  and  injure. 

4.  No      inelistic 
stay  down  the  fro'  t, 
eventually    cau.sinir 
uncomfortable  tight- 
ness. 

5.  Allows    corset 
one  size  smaller. 


quickly  put  on  and  off  than  any  other 


6.  A  PERFECT 
FIT  GUARANTEED. 
Ladies*  Size  3  will 
fit  figures  under  115 
Ibs.  in  weight.  Size 
.from  115  to  130  Ibs. 
5,  from  130  to 
150  Ibs.  Size  6,  from 
150  to  160  Ibs  Extra 
Sizes,  7  and  8,  for 
over  160  Ibs 
Misses'  Sizes,  2, 
8 -fit- 
of  ages 
15  years. 


Si 


WJ       /  Misses'    Siz 

IK  3.  4.  5,  6,  7, 

n  \J  tin£  figures  o 

*  from  3  to  15  ye 


None   genuine  without  the  "  Oneita  "  ticket  in  neck, 
ments  will  be  promptly  prosecuted. 


Patented  April  25,  1893.      All  infringe- 


If  your  retailer  hasn't  the  goods  in  stock,  he  can  obtain  them  of  any 

leading  jobber. 

THE  ONEITA  MILLS  make  a  specialty  of  "  two  and  two"  rib,  low  neck,  sleeveless  Summer  unions. 
The  "  Oneita"  Bicycle  Drawers  for  men  and   women    are  just  out  for   next   Spring.      They 
nave  extra  heavy  cloth  i:i  gusset  to  cover  all  points  of  contact  with  saddle  of  horse  or  bicycle. 
Patent  applied  for.  

JAS.  F.  WHITE  &  CO.,  Worth  and  Church  Streets,  New  York, 

MILL  AGENTS. 


pOR  THE  WINTER        » 


GO  TO 


BERMUDA. 


Forty-eight    hours  by  elegant  Steamship 
weekly. 

Frost  unknown.     Malaria  impossible. 


pOR  WINTER  TOURS      » 


WEST  INDIES. 

Thirty-day  trip  ;  fifteen  days  in  the 
tropics.  $5.00  a  day  for  transportation, 
meals,  and  state-room. 


For  pamphlet  giving  full  information  apply  to 
A.  E.  OUTERBRIDGE  &  CO.,  Agts.  for 

QUEBEC  S.  S.  CO.,  Ltd., 

39  Broadway,  N.  Y., 
or  to  THOMAS  COOK  &  SON'S  Agencies. 


vi 


L.  P.  HOLLANDER  &  CO., 

BOSTON :   202  to  212  Boylston  St.  &  Park  Square. 
NEW  YORK  :   200  Fifth  Avenue. 

THE   LEADING  HOUSE   OF  ITS    KIND    IN  THE 

COUNTRY. 

Ladies'  and  Misses' 

Costumers  and  Tailors. 

BOYS'   AND   CHILDREN'S    OUTFITTERS. 


Headquarters  for  the  most  approved 
materials  and  designs  in 


'.ro:e.  GOLF  HND  BICYCLE  SUITS. 


Rothschild's  Indestructible  Skirt  Braid, 


No  more  tearing  of  skirts. 

A  new  patent  indestructible  skirt-protector  is  now  being  used 
exclusively  by  such  houses  as  Bon  Marche  and  Louvre,  in  Paris,  and 
by  the  leading  London  houses. 

It  has  just  been  brought  to  this  country. 

It  is  destined  to  surpass  all  other  Skirt  Bindings,  ana  is  made  of 
spiral  cord  ;  will  not  rub  the  shoes;  does  not  gather  the  dirt,  and  is 
made  to  serve  as  a  skirt-stiffener ;  comes  in  black  and  all  colors. 

For  sale  by  all  the  leading  houses. 

Beware  of  imitations. 


; 

$ 


PARIS. 
THE   QUESTION, 

"Where  can  I  get  good  hosiery?" 
is  easily  solved  by  asking  your 
dealer  for  the  d  V.  make  of 
French  Hosiery;  it  is  durable, 
shapely  and  elastic,  and  does  not 
stretch  into  all  sorts  of  shapes. 
Comes  in  lisle,  cotton,  silk,  and 
cashmere.  For  descriptive  cata- 
logue send  to 

VERDIER  &  HARDY, 

486  Broadway,  New  York. 


PADEREWSKI  AND 
HIS  ART 


BY 

HENRY  T.  -FINCK 


ILLUSTRATED  BY  THOMAS  J.  FOG  ARTY 


NEW   YORK 

WHITTINGHAM   &   ATHERTON 

No.  8  BROAD  STREET 
I895 


COPYRIGHT  189^ 
BY  WHITTINGHAM    &   ATHERTON 

[All  rights  rtstrvtd.] 


M  L 

M-\ 

P\ 


.£> 


CONTENTS 

M 
U 

BIOGRAPHIC  SKETCH 

CONQUEST  OF  PARIS  AND  LONDON        ...        10 
FIRST  Two  AMERICAN  TOURS        .  .        .        12 

Cl 

AT  THE  CHICAGO  FAIR          ....  15 

g     PERSONAL  TRAITS  AND  ANECDOTES       .        .  19 

How  PADEREWSKI  PLAYS     ....  22 

BACH  AS  A  MODERN  ROMANTICIST        ...  27 

THE  IDEAL  BEETHOVEN  PLAYER  ....  28 

SCHUBERT,  MENDELSSOHN,  SCHUMANN         .        .  30 


THE  REAL  CHOPIN  33 


m    LISZT  AND  His  RHAPSODIES          ....  35 

r> 

PADEREWSKI  AS  A  COMPOSER        ....  37 

THE  POLISH  FANTASIA 41 

CONQUEST  OF  GERMANY         ....  43 


,     %*>-"•  *f        ' 


BIOGRAPHIC  SKETCH. 

'HE  question  of  nationality  plays  a  curious  role 
in  the  history  of  the  pianoforte.  For  about  a 
century  and  a  half  almost  all  the  great  piano- 
forte players  and  composers — Bach,  Mozart,  Beethoven, 
Weber,  Schubert,  Mendelssohn,  Schumann — were  Ger- 
mans. But  with  Schumann  and  his  wife  the  list  of 
Germans,  supreme  in  this  department,  practically  came 
to  an  end,  unless  we  except  Hans  von  Biilow,  who  was 
a  great  teacher  rather  than  an  inspired  interpreter ; 
and  Brahms,  whose  pianoforte  works  are  not  idio- 
matic. Thus  the  field  was  left  open  for  Slavic  and 
Hungarian  competitors.  Hungary  gave  us  Liszt, 
Heller,  and  Joseffy ;  Russia  produced  Rubinstein, 
Essipoff,  and  Pachmann ;  Scotland,  D'  Albert.  But 
the  land  preeminent  for  pianists  is  Poland.  Chopin 
was  a  Pole,  and  so  was  the  brilliant  Carl  Tausig, 
who,  had  he  not  died  at  the  age  of  thirty,  would, 
in  the  opinion  of  his.  pupil,  Joseffy,  and  many  others, 
have  surpassed  even  his  master,  Liszt.  While  there 
is  good  reason  to  believe  that  Josef  Hofmann,  who  so 
delighted  two  continents  as  a  prodigy,  will  ultimate- 
ly take  his  place  in  the  first  rank.  The  two  Schar- 
wenkas,  Moszkowski,  Leschetitzki,  and  Slivinski  are 
among  the  minor  Polish  masters.  And  now,  to  cap 
the  climax,  we  have  Paderewski,  whom  Poland  will 

some 


6 


some  day  honor  as  now  it  honors  Chopin  ;  so  that,  musi- 
cally speaking  at  any  rate,  it  is  safe  to  say,  "Noch  ist 
Polen  nicht  verloren"  —  Poland  is  not  yet  lost. 

Modern  Poland  has  less  than  eight  million  inhabi- 
tants, and  is  about  one-third  the  size  of  California. 
Why  this  insignificant  corner  of  Europe  should  have 
produced  four  of  the  world's  greatest  pianists  —  we 
might  even  say  five,  since  Rubinstein's  father  was  a 
Polish  Jew  —  is  as  inexplicable  as  the  problem  of 
genius  in  general.  Is  it  accidental,  or  a  consequence  of 
the  romance,  pathos,  and  tragedy  of  Polish  history? 
Is  it  due  to  the  influence  of  the  Polish  women,  world- 
famed  for  their  beauty  and  their  gift  of  inspiring 
poetic  fancies  in  their  admirers  ?  "We  know  not  ;  we 
only  know  that  Poland  has  taken  the  place  of  Germany 
as  the  home  of  great  pianists.  Oddly  enough,  many 
American  journalists  seem  to  imagine  that  Poles  are 
Germans,  since  they  are  constantly  speaking  of  "Herr 
Paderewski."  They  might  as  well  speak  of  "Herr 
Grover  Cleveland"  or  "  Signor  Bismarck." 

Ignace  Jan  Paderewski  —  who,  since  the  death  of  An- 
ton Rubinstein,  must  be  regarded  as  the  greatest  of  liv- 
ing pianists  —  was  born  on  November  6,  1860,  in  Podolia, 
a  province  of  Russian  Poland,  which  might  be  called 
the  granary  and  garden  of  Russia.  In  our  minds  the 
word  "Russian"  is  inseparably  associated  with  pic- 
tures of  snow  and  ice,  but  Podolia  has  a  climate  similar 
to  that  of  South  Germany.  Its  wheat  is  the  heaviest 
known,  and  used  to  be  exported  to  Italy  and  Greece  as 
early  as  the  fifteenth  century,  while  the  luxuriant 
growth  of  the  grape-vines,  mulberries,  and  melons  at- 
tests the  mildness  of  its  climate.  To  be  a  gentleman 
farmer  in  such  a  country  is  not  the  worst  fate  that 
might  befall  a  man  ;  nor  could  a  musical  genius  pass 
the  days  of  his  childhood  under  more  favorable  circum- 
stances than  those  which  surrounded  Ignace  on  his 
father's  farm. 

Paderewski'  s  father  was  an  ardent  patriot  who 
aroused  the  suspicions  of  the  Russian  officials,  and  in 

1863 


1863  he  was  banished  to  Siberia.  After  a  few  years' 
exile  he  was  allowed  to  return,  but,  although  he  lived 
till  1894,  his  spirits  were  broken,  and  the  only  solace  of 
his  last  years  was  the  growing  fame  of  his  son,  who,  he 
must  have  felt,  would,  like  Chopin,  do  more  to  make 
known  and  endear  Poland  to  the  world  than  any  of  her 
kings  and  politicians  had  ever  done.  Politicians  are 
not  usually  musicians,  and  Paderewski's  father  was  no 
exception  to  the  rule;  it  was  from  his  mother  that 
Ignace,  like  Rubinstein  and  many  other  musicians,  in- 
herited his  talent — in  accordance  with  Schopenhauer's 
doctrine  that  men  of  genius  derive  their  intellectual 
gifts  from  the  maternal  side.  Ignace' s  mother,  how- 
ever, died  when  he  was  still  a  child,  thus  throwing 
him  on  his  own  resources. 

It  is  related  of  Chopin  that  he  was  so  sensitive  in  his 
infancy  that  he  could  not  hear  music  without  crying, 
and  of  Mozart  that  he  fainted  on  hearing  the  sound  of 
a  trumpet.  Ignace  appears  to  have  been  similarly 
sensitive  to  sounds.  As  a  boy  he  used  to  crawl  on  the 
piano  stool,  strike  the  keys,  listen  to  the  vibrations 
that  make  up  a  tone,  and  modify  his  touch  till  he 
got  the  exact  quality  his  delicate  sense  of  tonal  beauty 
craved.  He  also  had  the  sense  of  absolute  pitch — that 
is,  he  could  name  every  note  he  heard  and  tell  the  com- 
ponent parts  of  every  chord  without  seeing  the  key- 
board. Eager  as  he  was  to  listen  and  learn,  there  was 
hardly  any  food  for  his  musical  appetite  except  the 
folk-songs  of  the  peasants,  which  in  Poland  are  beauti- 
ful and  characteristic.  Once  a  tiddler  tried  to  give  him 
a  few  lessons  on  the  piano,  of  which  he  knew  but  little 
himself.  Subsequently  an  old  piano  teacher  was  en- 
gaged to  visit  the  isolated  farm  once  a  month.  He 
taught  the  boy  and  his  sister  how  to  play  simple  ar- 
rangements of  operatic  tunes  for  one  or  two  performers; 
but  of  systematic  instruction  there  could  be  no  ques- 
tion under  such  circumstances. 

He  was  twelve  years  old  when  he  went  to  Warsaw, 
where  at  last  he  was  able  to  hear  good  music  and  to  take 

lessons, 


8 

lessons,  Janotha  being  Ms  teacher  on  the  piano,  and 
Roguski  in  harmony.  In  the  library  of  the  Conserva- 
tory he  also  found  opportunities,  which  he  did  not 
neglect,  for  studying  the  works  of  the  classical  and 
romantic  composers.  But  for  a  long  time  his  lack  of 
early  training  remained  a  disadvantage.  Even  at  six- 
teen, when  he  attempted  his  first  concert  tour,  in  Rus- 
sia, he  was  technically  far  from  satisfactory.  Miss 
Fanny  Morris  Smith  relates  that  "during  this  journey 
he  played  his  own  compositions  and  those  of  other 
people;  but,  as  he  naively  confessed,  they  were  all  his 
own,  no  matter  what  he  played,  for  he  did  not  know 
the  music,  and  as  he  had  little  technic  and  could  not 
manage  the  difficult  places,  he  improvised  to  fill  up  the 
gaps." 

There  is  reason  to  think  that  the  Russian  amateurs 
who  heard  Paderewski  on  this  tour  were  not  particu- 
larly spoiled  or  critical.  St.  Petersburg  and  Moscow 
enjoy  good  concerts  and  operatic  performances,  but  in 
provincial  towns  musical  culture  has  not  reached  the 
highest  possible  level.  I  am  indebted  to  Miss  Szumow- 
ska,  Paderewski' s  charming  and  talented  pupil,  for  an 
anecdote  relating  to  this  first  tour,  which  he  is  fond  of 
telling.  He  had  announced  a  concert  at  a  certain  small 
town,  but,  on  arriving,  found  that  no  piano  was  to  be 
had  for  love  or  money.  Finally,  he  ascertained  that  a 
general  living  some  miles  away  had  a  piano.  The  gen- 
eral was  perfectly  willing,  on  being  applied  to,  to  lend 
his  instrument ;  but  when  the  pianist  tried  it,  he  found, 
to  his  dismay,  that  it  was  so  badly  out  of  repair  that 
some  of  the  hammers  would  stick  to  the  strings  instead 
of  falling  back.  However,  it  was  too  late  to  back  out. 
The  audience  was  assembling,  and  in  this  emergency  a 
bright  thought  occurred  to  the  pianist.  He  sent  for  a 
switch,  and  engaged  an  attendant  to  whip  down  the 
refractory  hammers  whenever  necessary.  So  bang  went 
the  chords,  and  swish  went  the  whip,  and  the  audience 
liked  this  improvised  duo  more,  perhaps,  than  it  would 
have  enjoyed  the  promised  piano  solo. 

After 


9 


After  this  maiden  tour,  Paderewski  resumed  his  stud- 
ies at  the  Warsaw  Conservatory,  and  two  years  later  he 
was  considered  sufficiently  advanced  to  be  appointed  to 
a  professorship.  In  the  following  year,  aged  only  nine- 
teen, he  married  a  Polish  girl.  Early  marriages  are 
rarely  advisable,  especially  in  the  case  of  penniless 
artists  who  wish  to  carve  their  way  to  fame.  Pade- 
rewski's  married  life  lasted  only  a  year — a  year  of  pri- 
vation and  poverty — a  year  in  which  he  probably  did 
not  earn  one-tenth  of  what  he  can  now  earn  in  two 
hours.  His  wife  died,  leaving  him  an  invalid  boy, 
bright  in  mind  but  paralyzed  in  body,  who  now  is  taken 
care  of  by  Mr.  Gorski  in  Paris,  and  to  whom  his  father 
is  devoted. 

Grief  has  ever  been  a  fertilizer  of  genius.  After  his 
great  loss,  Paderewski  gave  up  his  whole  soul  to  his 
art,  in  which  he  now  made  more  rapid  progress  than 
before.  He  went  to  Berlin,  where  his  opportunities  for 
hearing  good  music  were,  of  course,  very  much  better 
than  they  had  been  at  Warsaw.  Here  he  took  lessons 
in  composition  of  Kiel,  whose  best  service  to  his  pupil 
was  that  he  fanned  his  enthusiasm  for  his  own  two 
idols,  Bach  and  Beethoven.  Professor  Urban,  of  Kul- 
lak's  Academy,  was  also  his  teacher  for  a  time,  and  at 
the  age  of  twenty-three  he  accepted  a  position  as  pro- 
fessor at  the  Conservatory  of  Strasburg. 

Up  to  this  time,  apparently,  no  one  had  suspected 
Paderewski' s  latent  powers.  It  takes  genius  to  dis- 
cover genius.  It  so  happened  that  during  his  Strasburg 
days  he  became  intimately  acquainted,  at  a  summer 
resort,  with  the  famous  Polish  actress,  Mme.  Modjeska, 
who  was  perhaps  the  first  to  recognize  his  rare  gifts. 
She  describes  him  as  at  this  time  "a  polished  and 
genial  companion ;  a  man  of  wide  culture ;  of  witty, 
sometimes  biting  tongue  ;  brilliant  in  table-talk  ;  a  man 
wide-awake  to  all  matters  of  popular  interest,  who 
knew  and  understood  the  world,  but  whose  intimacy 
she  and  her  husband  especially  prized  for  the  'eleva- 
tion of  his  character  and  the  refinement  of  his  mind.' ' 

His 


10 

His  familiarity  with  musical  literature  was  already 
exhaustive.  To  amuse  these  same  friends  he  once  ex- 
temporized exquisitely  upon  a  theme  in  the  character- 
istic style  of  every  great  composer  from  Palestrina  to 
Chopin.  When  he  had  finished,  they  begged  him  to 
play  it  once  more  according  to  himself,  and  that  time 
it  was  the  most  beautiful  of  all. 

The  suspicion  naturally  arises  that  it  may  have  been 
due  largely  to  the  sympathetic  encouragement  of  the 
famous  Polish  actress  that  Paderewski  gave  up  the 
drudgery  of  teaching,  and  went  to  Vienna  to  prepare 
himself  for  the  career  of  a  concert  pianist  under  the 
guidance  of  his  famous  countryman  Leschetitzki,  who 
may  be  safely  asserted  to  have  shown  himself,  next  to 
Liszt,  the  most  successful  trainer  of  pianists. 


CONQUEST  OF  PAEI8  AND   LONDON. 


the  Germans  and  Austrians  are  un- 
doubtedly the  most  musical  of  all  nations, 
they  are  not  very  quick  in  discovering  a 
new  genius,  unless  they  happen  to  have  a 
Schumann  among  their  critics.  Pade- 
rewski's  debut  in  Vienna  was  a  pleasant 
enough  affair,  but  did  not  do  much  to 
establish  his  fame,  and  it  remained  for 
Paris  to  discover  his  merits  and  proclaim 
them  to  the  world.  The  Parisian  public 
and  press  received  him  so  cordially  that 
the  curiosity  of  London  was  aroused,  but 
when  he  crossed  the  Channel  and  gave  his 
first  concert  there,  on  May  9,  1890,  the  result  was  a 
disappointment.  The  Academy  said:  "If  this  artist 
did  himself  full  justice  on  this  occasion,  we  cannot 
understand  the  fuss  that  has  been  made  of  him.  He 
is  a  virtuoso  player,  but  apparently  not  of  the  highest 
order."  The  AtJienceum,  while  conceding  that  he 
certainly  succeeded  in  astonishing  the  small  audience, 

accused 


11 


accused  him  of  sensationalism  and  exaggeration,  sum- 
ming up  its  verdict  in  these  words:  "He  is  certainly 
not  a  model  pianist,  and  his  playing  gives  as  much 
pain  as  pleasure  to  listeners  of  refined  tastes."  But 
when  he  gave  his  second  concert,  a  week  later,  the 
critics  took  back  everything  they  had  said.  The 
Academy  found  his  readings  "poetical  in  a  high  de- 
gree," and  the  Athenceicm  was  "enabled  to  agree  with 
the  eulogy  bestowed  upon  the  Polish  artist  by  Parisian 
critics.  It  is  only  fair  to  add,"  it  continues,  "that  at 
the  previous  recital  M.  Paderewski  may  have  been 
unfavorably  influenced  by  the  sparse  attendance  and 
the  inferior  pianoforte  on  which  he  played." 

Sparse,  indeed,  had  been  the  attendance  at  that  first 
London  recital;  the  receipts  did  not  exceed  ten  pounds. 
But  with  every  succeeding  recital  the  audiences  grew 
in  number,  and  to-day,  when  Paderewski  gives  a  con- 
cert in  that  city,  the  receipts  rarely  fall  below  $5,000, 
which  is  as  much  as  Mme.  Patti  received  in  the  most 
brilliant  period  of  her  operatic  career.  Nor  are  the 
music-lovers  of  other  English  cities  less  multitudinous 
and  eager  to  hear  him  than  the  Londoners.  In  1894, 
when  his  manager  arranged  an  English  provincial  tour 
embracing  twenty-two  cities,  the  seats  were  in  many 
of  these  places  all  sold  as  much  as  two  months  ahead 
of  the  date  of  the  concert! 
In  Edinburgh  the  excite- 
ment was  so  great,  and  the 
hall  so  crowded,  that  at 
least  a  dozen  ladies  had  to 
be  carried  out  in  a  fainting 
condition.  On  another  oc- 
casion, in  London,  it  was 
noted  that  a  number  of  ama- 
teurs had  provided  them- 
selves with  breakfast  and 
lunch,  and  waited  patiently 
all  day  long  for  the  doors  of 
St.  James's  Hall  to  open. 

Reports 


12 


FIEST  TWO   AMERICAN  TOURS. 

EPORTS  of  Paderewski's  extraordinary  suc- 
v        cess   in  England  had,  of  course,  preceded 
U       him  to  America,  and  when  he  made  his 
first  appearance  in  New  York,  on  Novem- 
ber 17,  1891,  he  was  greeted  at  Carnegie  Hall  by 
a  large  and  brilliant  audience.     It  does  not  at 
all  follow  that  because  an  artist  succeeds  in 
London,  Paris,  or  Vienna  he  will  have  the  same 
f  happy  fate  in  New  York.      Many  musicians — 
I  especially  singers — have  a  tale  of  woe  to  tell  on 
that  score,  and  it  is  an  undeniable  fact  that  the 
New  York  musical  public  is  the  most  critical 
and  fastidious  in  the  world.    Paderewski,  how- 
ever,  triumphed  at  once ;  he  is  an  artist  of  too 
high  a  type  to  be  dependent  on  the  lottery  of 
luck.     As  he  walked  across  the  stage  and  seated 
himself  at  his  Steinway  Grand,  his  appearance 
and  demeanor  at  once  indicated  the  keynote  of 
his  whole  performance — an  honest  devotion  to 
his  art  which  scorns  any  sort  of  trifling  with 
the  audience,  or  posing  as  a  genius,  in  the  old 
style,  by  personal  untidiness. 

While  the  public* at  once  recognized  Paderewski's 
greatness,  the  critics,  with  a  few  exceptions,  lagged 
behind.  A  writer  in  a  musical  paper  thus  summed 
up  the  situation  satirically:  "Paderewski,  the  pianist, 
came  and  did  not  conquer  at  once.  .  .  .  The  press 
all  the  week  was  a  study.  Praise  was  given,  but 
grudgingly,  and  the  fatal  comparison  of  names  was  in- 
stituted. If  Paderewski  had  only  had  Joseffy's  hair, 
Rosenthal's  appetite,  Rummers  laugh,  Rubinstein's 
powers  of  perspiration,  Pachmann's  grin,  why,  then 
Paderewski  would  have  been  a  great  pianist,"  etc.  But 
the  public  paid  no  heed  to  these  insinuations,  and 
when,  after  two  concerts  with  orchestra  (at  which  he 
played  concertos  by  himself,  Saint- Saens,  and  Beetho- 
ven), 


13 


ven),  he  began  a  series  of  solo  recitals  at  the  Madison 
Square  Garden  concert  hall,  it  was  found  that  this 
hall  was  too  small  to  contain  all  the  enthusiasts,  and  he 
had  to  return  to  Carnegie  Hall,  which  has  a  seating  ca- 
pacity of  twenty-seven  hundred,  with  standing-room  for 
about  a  thousand  more;  and  this  hall  was  thenceforth 
crowded  at  every  recital,  although  the  price  of  seats 
was  almost  on  an  operatic  scale. 

In  less  than  six  months,  Paderewski  gave  the  enor- 
mous number  of  one  hundred  and  seventeen  concerts, 
his  fame  growing  all  the  time  like  an  avalanche.  His 
last  concert  in  New  York  was  given  at  the  Metropolitan 
Opera  House,  for  the  benefit  of  the  Washington  Arch 
Fund.  The  great  pianist  volunteered  his  services  for 
this  occasion,  Mr.  Higginson  generously  gave  the  assist- 
ance of  the  Boston  Symphony  Orchestra  free  of  charge, 
so  that  the  proceeds  of  the  concert,  $4,275,  could  be 
turned  over  to  the  Fund  intact.  Mr.  Paderewski  felt 
grateful  towards  Washington's  countrymen  for  their 
cordial  recognition  of  his  genius,  and  he  played  on 
this  occasion  like  one  truly  inspired,  so  that  after  he 
had  interpreted  his  own  concerto,  with  the  superb 
accompaniment  of  Mr.  Nikisch  and  his  orchestra,  not 
a  few  of  those  in  the  audience  felt  convinced  that  they 
had  just  heard  the  greatest  pianist  that  ever  lived. 

As  Mr.  Paderewski  had  given  his  services  for  a  patri- 
otic purpose,  it  was  proper  that  patriotic  compliments 
should  be  exchanged  after  the  concert.  Mr.  Parke 
Godwin  and  Mr.  Richard  Watson  Gilder,  as  members 
of  the  Washington  Arch  Committee,  came  on  the  stage, 
and  Mr.  Godwin  made  a  short  address,  in  which  he 
thanked  all  those  who  had  contributed  towards  the  suc- 
cess of  the  concert,  and  then  spoke  of  Mr.  Paderewski' s 
home  in  Poland,  expressing  the  hope  that  that  unlucky 
country  might  some  day  be  released  from  its  oppres- 
sors. A  smile  lighted  up  Mr.  Paderewski' s  fine  fea- 
tures as  these  words  were  spoken ;  but  instead  of 
responding  in  words,  he  shook  his  head,  put  his  finger 
on  his  lips,  sat  down  once  more  at  the  piano  amid 

thunders 


14 


thunders  of  applause  and  played  a  Liszt  rhapsody  as 
he  alone  can  play  it.  It  was  an  historic  event,  which 
those  who  were  lucky  enough  to  be  present  will  never 
forget. 

After  such  a  brilliant  success,  it  was  not  surprising 
that  Paderewski's  managers  succeeded  in  persuadino- 
him  to  return  for  a  second  tour,  beginning  in  the  au- 
tumn of  1892.     In  New  York  he  again  took  possession 
Carnegie    Hall,    and    gave    there  eleven  concerts 
including  two  with  orchestra,  and  every  one  of  them 
was  crowded  to  the  doors.  (Jtranger  things  happened 
in  the  West,  as  the  following  newspaper  item  shows  • 
Paderewski  played  on  Monday  evening  in  Cleveland 
and  the  Lake  Shore  and  Michigan  Southern  Railroad 
Company  ran  special  trains,  one  from  Sandusky  and 
the  other  from  Norwalk,  for  the  benefit  of  the  resi- 
dents of  those  two  cities  who  wished  to  hear  him.""'"'" 

Of  course  the  receipts  varied  with  the  size  *tf-;the 
halls.    One  Chicago  concert  yielded  over  seven  thou- 
sand dollars  ;  but  if  New  York  did  not  reach  such  a 
high  figure,  that  was  simply  because  it  has  no  concert 
hall  as  big  as  the  Chicago  Auditorium.    Here  are  a  few 
official  figures  covering  fourteen  consecutive  concerts  • 
Bmghamton,     $1,500;     New    York,     $5,069;    Boston 
$2,364;  New  Haven,  $1,926;  New  York,  $5,060;  Roch- 
ester, $1,352 ;  Albany,  $1,350  ;  Hartford,  $1,915 ;  Boston 
$2,995;  New  York,  $5,524;  Buffalo,  $2,050;  Philadel- 
phia, $5,324;  Brooklyn,  $3,162;  Boston,  $3,999;  total 
$43,590,  or  an  average  of  $3,113. 

The  total  number  of  concerts  given  during  this  sec- 
ond tour  in  twenty-six  American  cities  was  sixty-seven 
and  the  receipts  amounted  to  $180,000— a  sum  never 
before  reached  by  any  instrumental  performer,  and 
rarely  equalled  by  a  prima  donna  in  the  palmiest  days 
of  the  bel  canto.  These  financial  results  show  that 
those  managers  who  offered  Rubinstein  $2,500  an  even- 
ing for  an  American  tour  a  few  years  ago  were  not  so 
rash  as  some  fancied  they  were.  Paderewski  reached 
that  average,  and  it  is  possible  that  Rubinstein,  with 

the 


15 

the  prestige  of  his  life-long  reputation  as  pianist  and 
composer,  might  have  exceeded  it.  It  is  interesting  to 
compare  Rubinstein's  net  earnings  in  1872 — $50,000  for 
215  concerts — with  Paderewski's  gross  receipts  of 
about  $180,000  for  sixty-seven  concerts,  of  which,  per- 
haps, $150,000  are  net.  For  the  number  of  concerts 
given  he  earned  about  nine  times  as  much  as  Rubin- 
stein. This  does  not  prove  that  he  is  nine  times  as 
great  a  pianist  as  Rubinstein,  but  it  does  indicate  that 
musical  culture  in  America  had  made  enormous  strides 
in  twenty  years. 


AT  THE   CHICAGO   FAIE. 

HE  second  American  season  unfortunately 
ended  with  a  clashing  discord,  thanks  to  Pade- 
rewski's  gratitude  and  generosity.  The 
reader  knows  that  he  closed  his  first  season 
by  giving  a  concert  which  yielded  $4,275  for  the 
Washington  Arch  Fund.  During  his  second  season 
he  gave  no  less  than  four  charity  concerts  in  New 
York,  being  in  this  respect,  as  in  so  many  others,  a 
worthy  follower  of  Liszt  and  Rubinstein.  By  way  of 
C  ,'  capping  the  climax,  he  intended  to  give  two  free  con- 
certs for  the  benefit  of  Uncle  Sam,  and  to  show 
hi8  appreciation  of  the  cordial  reception  ex- 
tended  to  him  in  the  United  States.  Partly  as 
a  compliment  to  Mr.  Theodore  Thomas  —  for 
whom  Mr.  Paderewski  has  a  great  admiration,  which 
is  cordially  reciprocated  —  and  partly  to  add  to  the 
brilliancy  of  the  opening  of  the  World's  Fair  at  Chi- 
cago, he  offered  to  participate  in  the  two  opening  con- 
certs of  the  Exposition  series,  on  May  2  and  3,  1893, 
by  playing  the  Schumann  concerto  and  his  own,  besides 
a  number  of  shorter  pieces.  In  order  to  do  this,  he 
had  to  postpone  his  departure  to  Europe  a  week,  travel 
nearly  two  thousand  miles  more  at  the  end  of  a  most 
fatiguing  season,  and  practically  give  away  $10,000, 
which  he  might  have  easily  earned  by  playing  four 

hours 


' 


16 

hours  more  in  New  York.  Does  the  history  of  music 
record  a  more  splendid  and  generous  action  ?  And  now 
let  us  see  how  he  was  rewarded  for  his  magnanimity. 
V  Vv/Jt  is  well  known  that  Paderewski  always  used  a 
^"~  £>teinway  piano.  An  artist  born  with  such  a  keen  sense 
of  tonal  beauty  as  his  could  not  help  preferring  these 
pianos  to  all  others,  for  the  same  reason  that  Joachim 
or  Ysaye  prefers  a  Stradivarius  to  all  other  violins.  It 
was  Joachim  himself,  the  greatest  violinist  of  the 
century,  who  said  that  "Steinway  is  to  the  pianist 
what  Stradivarius  is  to  the  violinist."  Rubinstein  pro- 
nounced the  Steinway  piano  "unrivalled" ;  Liszt  wrote 
of  it  as  "a  glorious  masterpiece  in  power,  sonority, 
singing  quality,  and  perfect  harmonic  effects";  Berlioz, 
the  great  orchestral  colorist,  dwelt  on  its  "splendid 
sonority  "  and  purity  of  tone;  Wagner,  greater  colorist 
still,  had  a  Steinway  Grand  for  his  daily  use  at  Bay- 
reuth,  and  when  once  it  had  to  be  sent  to  Hamburg  to 
receive  the  newly  patented  tone  pulsator,  he  wrote, 
quite  pathetically:  "I  miss  my  Steinway  Grand  as 
one  misses  a  dearly  beloved  wife.  ...  I  no  longer 
indulge  in  music  since  that  Grand  is  gone."  Thus  the 
superexcellence  of  the  Steinway  piano  is  proved  in  a  way 
which  puts  it  beyond  all  "questions  of  taste"  and  per- 
sonal preference. 

It  is  necessary  to-  bear  such  facts  as  these  in  mind  in 
order  to  appreciate  fully  the  tale  now  to  be  unfolded. 
It  so  happened  that  several  prominent  Eastern  firms, 
including  Steinway  &  Sons,  did  not  exhibit  their  pi- 
anos at  the  Chicago  Fair,  for  the  reason  that  they  did 
not  approve  of  the  plan  of  awards.  The  defection  of 
the  leading  firm,  which  had  received  the  highest  awards 
at  all  previous  expositions,  naturally  offended  the  Di- 
rectors, and  when  Paderewski  appeared  on  the  scene 
they  concluded  that  they  had  a  chance  to  "get  even" 
with  the  Steinways.  The  great  pianist  was  informed 
that  if  he  wished  to  play  on  the  Fair  Grounds  he  would 
have  to  use  an  instrument  of  one  of  the  exhibiting 
firms !  Had  the  Board  of  Directors  been  made  up  of 

men 


17 


men  of  taste  and  culture,  they  would  have  seen  at  once 
that  this  was  an  artistic,  not  a  commercial  question, 
and  that  they  had  no  more  right  to  dictate  to  Pade- 
rewski  as  to  what  piano  he  should  use  than  they  would 
have  had,  in  similar  circumstances,  to  tell  Ysaye  that 
he  must  use  an  American  violin  instead  of  an  imported 
Stradivarius  ;  all  the  more  as  it  is  not  customary  among 
civilized  people  to'  look  a  gift  horse  in  the  mouth. 

Such  considerations,  of  course,  never  entered  into  the 
heads  of  the  gentlemen  from  Utah  and  other  parts  of 
the  wild  and  woolly  West  who  happened  to  be  on  the 
committee.  It  was  reported  that  one  of  these  gentle- 
men actually  introduced  a  resolution  calling  for  the 
removal  of  the  Steinway  pianos  "at  the  point  of  the 
bayonet,  if  necessary!"  Civil  war  was  luckily  avoid-" 
ecfT" Orcter^  ~cfecency  and  common-sense  finally  pre- 
vailed, and  the  concerts  were  given;  but  to  the  last 
minute  the  public  did  not  feel  sure  that  Paderewski 
would  be  permitted  to  play,  wherefore  these  concerts, 
which  otherwise  would  have  marked  the  climax  of  his 
career,  were  not  as  brilliant  as  had  been  expected. 

Coming  after  a  long  and  exhausting  tour,  the  ex- 
citement and  annoyance  over  this  unseemly  squabble 
proved  too  much  for  his  nervous  system.  Paderewski 
did  not  feel  equal  to  the  task  of  giving  the  final  con- 
cert at  which  he  was  to  appear.  This  was  to  be  an 
entertainment  for  the  Actors'  Benefit  Fund,  and  so 
great  was  the  eagerness  of  the  New  York  public  to 
hear  its  favorite  pianist  once  more,  that  every  seat 
in  Palmer's  Theatre  was  sold  within  three  hours  after 
the  box-office  opened.  This  happened  while  Pade- 
rewski was  still  in  Chicago;  but  suddenly  a  telegram 
arrived  in  which  he  said:  "Very  sorry  to  make  the 
announcement,  but  I  am  physically  unable  to  play, 
and  I  say  this  with  the  greatest  of  regret.  Ask  Mr. 
Palmer  to  accept  $1,000  as  a  contribution." 

On  the  eve  of  his  departure  he  said  to  an  acquaint- 
ance, while  playing  a  game  of  billiards  at  the  Windsor 
Hotel:  "It  is  absurd  of  the  newspapers  to  try  and 

make 


18 

make  out  that  my  health  has  been  undermined  by 
smoking  and  what  they  call  my  dissipated  habits.  I 
did  not  play  yesterday  afternoon  simply  because  I  have 
played  and  practised  too  much  during  the  last  three 
weeks.  The  trip  to  Chicago  also  upset  me.  You  can 
see,  however,  that  I  am  quite  able  to  go  around  and  to 
enjoy  myself  as  best  I  can.  I  am  only  mortally  tired 
of  the  piano,  and  the  prospect  of  having  to  play  more 
distresses  me.  Any  one  who  has  practised  much  on 
the  piano,  or  who  has  overdone  in  any  particular  direc- 
will  understand  this." 

One  more  interesting  point  regarding  the  Chicago 
affair  remains  to  be  considered.  The  New  York  papers 
mostly  sided  with  Paderewski,  as  a  matter  of  course, 
but  one  of  them  printed  an  editorial,  "Under  which 
Piano?"  in  which  the  assertion  was  made  that  it  was 
"not  very  generous  on  Mr.  Paderewski' s  part  to  sell 
himself  to  a  piano  firm."  This  induced  Paderewski  to 
address  the  following  frank  and  manly  letter  to  the 
paper  in  question : 

"Referring  to  your  editorial  remarks  in  to-day's 
issue  of  your  paper,  permit  me  to  state  that  at  the 
request  of  Mr.  Theodore  Thomas,  when  last  in  Chicago, 
I  promised  my  assistance  at  the  inaugural  concerts  of 
the  World's  Columbian  Exposition,  without  compensa- 
tion (delaying  my  departure  for  Europe  for  one  week), 
simply  for  artistic  reasons  and  as  my  contribution 
towards  a  great  national  enterprise,  and  also,  in  a 
measure,  in  appreciation  of  the  patronage  and  kindness 
extended  to  me  by  the  American  people.  Further- 
more, I  must  emphatically  deny  that  I  am  bound  by 
contract  or  agreement,  either  in  writing  or  verbally,  to 
the  use  of  any  particular  make  of  piano.  In  this 
respect  I  am  at  perfect  liberty  to  follow  my  convictions 
and  inclinations,  and  this  privilege  I  must  be  free  to 
exercise  in  the  prosecution  of  my  artistic  career. 

"  Throughout  the  wide  world  any  artist  is  permitted 
to  use  the  instrument  of  his  choice,  and  I  do  not  under- 
stand why  I  should  be  forced  to  play  an  instrument  of 

a 


19 


a  manufacture  strange  to  me  and  untried  by  me,  which 
might  jeopardize  my  artistic  success.  I  simply  prefer 
to  play  the  instrument  which  is  my  own  and  on  which 
I  have  already  played  in  sixty  concerts. 


"  Respectfully  yours, 

"I.  J.  PADEREWSKI." 


NEW  YORK,  April  28. 


The  amusing  outcome  of  the  whole  fracas  was  that  the 
directors  and  rival  manufacturers  who  had  intended  to 
"get  even"  with  the  Stein  ways  did  that  firm  an  inesti- 
mable service  by  giving  them  a  free  advertisement  such 
as  they  had  never  had  before  ;  for  every  newspaper  in 
the  country  printed  telegrams  and  editorials  informing 
the  public  that  the  greatest  living  pianist  refused  to 
play  on  any  other  but  a  Steinway  piano,  though  he  was 
under  no  contract  to  do  so  !  Never,  surely,  has  fate 
more  cunningly  turned  a  poisoned  arrow  into  a  boom- 
erang ! 


PERSONAL  TRAITS   AND   ANECDOTES. 

MEEICA,  thanks  to  our  full  purses,  our  ready 
enthusiasm  for  what  is  best  of  its  kind,  and  our 
"magnificent  distances,"  is  at  once  the  Eldorado  and 
the  terror  of  European  artists. 

We  came  very  near  ruining  the  career  of  little  Josef 
Hofmann  by  overwork,  and  even  the  leonine  Rubin- 
stein, at  the  age  of  forty-one,  found  the  American  tour 
so  exhausting  that  he  wrote  in  his  autobiography : 
"May  Heaven  preserve  us  from  such  slavery  !  .  .  . 
The  receipts  and  the  success  were  invariably  grati- 
fying, but  it  was  all  so  tedious  that  I  began  to 
despise  myself  and  my  art."  Nothing  —  not  even 
the  offer  of  $2,500  an  evening  —  could  induce  Ru- 
binstein to  repeat  the  experiment.  Paderewski,  al- 
though he  nearly  suffered  nervous  collapse  after  his 

first 


20 


first  tour,  luckily  was  willing  to  come  again,  and  as 
his  second  tour  was  more  reasonably  arranged,  he  might 
have  come  out  of  it  fresh  and  smiling  but  for  the 
Chicago  trouble. 

One  of  his  noblest  traits  is  his  genuine  modesty — a 
trait  which  has  not  been  altered  by  the  fact  that  he 
now  receives  homage  as  the  greatest  living  pianist  and 
one  of  the  most  gifted  composers.  Sir  George  Grove 
praises  Schubert  as  "one  of  the  very  few  musicians  who 
did  not  behave  as  if  he  considered  himself  the  greatest 
man  in  the  world."  In  this  respect  Paderewski  resem- 
bles Schubert.  "Paderewski,"  said  the  pianist  De 
Pachmann,  in  one  of  those  quaint  little  speeches  he 
loves  to  address  to  his  audiences,  "Paderewski  is  the 
most  modest  artist  that  I  have  ever  seen.  I  myself  am 
the  most  unmodest  artist,  except  Hans  von  Bulow. 
He  is  more  unmodest  than  I  am." 

To  his  colleagues  and  rivals  Paderewski  is  pleasant 
and  generous.  He  invites  them  to  dinners  and  inter- 
ests himself  in  their  affairs.  He  and  Mr.  Joseffy  are 
excellent  friends,  who  thoroughly  appreciate  each 
other's  good  points. 

Paderewski  belongs  to  the  modern  school  of  musi- 
cians in  being  a  man  of  general  culture  and  refinement. 
He  is  not  one  of  those  numerous  musicians  who  care  for 
nothing  but  their  own  art.  He  is  interested  in  the 
other  arts,  too,  as  well  as  in  literature  and  life.  He  is 
as  brilliant  in  table-talk  as  at  the  piano,  and  is  a  most 
sympathetic  and  intellectual  companion.  He  has  very 
decided  opinions  of  other  composers,  and  his  taste  is 
remarkably  catholic.  He  likes  Grieg' s  songs  better  than 
his  pianoforte  works,  while  Brahms'  piano  pieces,  as  he 
once  said  to  me,  hardly  exist  for  him  :  "they  seem  all 
treble  and  bass."  But  he  admires  the  chamber-music 
of  Brahms.  His  worship  of  the  romantic  Chopin, 
Liszt,  and  Schumann  does  not  interfere  with  his  en- 
joyment of  the  classical  Mozart  and  Beethoven.  He 
adores  Bach  and  Schubert,  and  at  the  same  time  he  is  a 
thorough  Wagnerite.  To  hear  "Parsifal"  or  "Tris- 
tan," 


21 

tan,"  he  says,  you  ought  to  go  to  Bayreuth,  for  the 
"  Meistersinger  "  to  Vienna,  for  "Tannhauser"  to 
Dresden;  while  of  the  "Flying  Dutchman,"  the  best 
performance  he  ever  heard  was  at  a  small  German  city 
of  thirty  thousand  inhabitants. 

Like  most  Poles,  he  has  a  great  talent  for  acquiring 
a  knowledge  of  languages.  He  speaks  Polish,  Russian, 
French,  German,  and  English  fluently,  and  he  is  an 
excellent  letter-writer,  as  the  few  who  have  been 
favored  by  him  are  aware.  In  recent  years,  however, 
he  has  acquired  almost  a  horror  of  letter-writing,  and 
seems  to  have  fallen  into  the  bad  habit  of  Chopin,  who 
would  rather  get  into  a  cab  and  deliver  a  message  per- 
sonally at  the  other  end  of  Paris  than  write  a  note  of 
twenty  lines. 

Genius  involves  hard  work,  in  a  pianist  as  in  a  poet. 
Ease  and  finish  are  the  rewards  of  years  of  toil.  When 
we  know  how  persistently  Paderewski  works  to  perfect 
his  playing,  we  hardly  wonder  that  he  shirks  the  duty 
of  writing  letters.  His  triumphs  were  not  too  easily 
won  ;  he  had  to  practise  and  study  many  years  to  earn 
them.  To  this  day  he  will  practise  ten  or  twelve  hours 
or  more  a  day  when  preparing  for  a  concert  tour,  to 
keep  his  fingers  supple  and  his  memory  reliable.  But 
the  secret  of  his  success  lies  in  this,  that  he  practises 
not  merely  with  the  fingers,  but  with  the  brain  too.  He 
once  told  me  that  he  often  lies  awake  for  hours  at  night, 
going  over  his  next  programme  mentally,  note  for  note, 
trying  to  get  at  the  very  essence  of  every  bar. 

This  mental  practice  at  night  explains  the  perfection 
of  his  art,  but  it  is  not  good  for  his  health.  Indeed,  if 
he  ever  sins,  it  is  against  himself  and  the  laws  of  health. 
He  smokes  too  many  cigarettes,  drinks  too  much  lem- 
onade, loses  too  much  sleep,  or  sleeps  too  often  in  the 
daytime.  For  this  last  habit  he  is,  however,  not  en- 
tirely to  blame ;  for,  whenever  he  gives  a  concert,  all 
his  faculties  are  so  completely  engaged  that  he  is  quite 
exhausted  at  the  end,  and  unable  to  go  to  sleep  for 
hours.  His  favorite  antidote  to  this  artistic  insomnia 

is 


22 


is  a  game  of  billiards.  Of  this  game  he  is  passionately 
fond,  and  he  regards  it  as  a  sort  of  tonic  ;  for,  he  says, 
"  If  I  walk  or  ride,  or  merely  rest,  I  go  on  thinking  all 
the  time,  and  my  nerves  get  no  real  rest.  But  when  I 
play  billiards,  I  can  forget  everything,  and  the  result  is 
mental  rest  and  physical  rest  combined.' 

Like  Liszt  and  Rubinstein,  Paderewski  has  an  intense 
personal  magnetism  which  especially  attracts  women. 
I  have  seen  an  audience  compel  the  poor  pianist  to  add 
five  pieces  to  the  sixteen  on  the  programme,  the  chief 
applauders  being  women.  Often  have  I  seen  half  the 
ladies  in  the  parquet  leave  their  seats  while  these  extras 
were  being  called  for  and  crowd  as  near  the  stage  as 
possible  so  as  to  get  a  closer  view  of  the  magnetic  per- 
former and  his  bewitched  fingers.  After  the  concert, 
those  who  were  lucky  enough  would  crowd  into  his 
room,  while  others  would  wait  below  to  see  him 
drive  off. 

To  conclude  these  remarks  on  Paderewski' s  personal- 
ity, let  me  quote  a  line  of  Mr.  J.  G.  Huneker  :  "His 
life  has  been  full  of  sorrow,  of  adversity,  of  vicious- 
ness  never.  His  heart  is  pure,  his  life  clean,  his  ideals 
lofty." 

HOW  PADEKEWSKI  PLAYS. 

T  is  often  said  that  a  trace  of  charlatanism  is 
essential  to  the  success  of  even  a  genius.  Pade- 
rewski is  a  living  refutation  of  this  assertion. 
He  never  resorts  to  clap-trap,  trickiness,  or  sen- 
sationalism in  order  to  win  applause.  He  makes 
no  concessions  to  the  popular  craving  for  cheap 
tunes,  but  gives  his  hearers  only  the  choicest 
products  of  the  highest  musical  genius,  from 
Bach  to  the  present  day.  He  never  stoops  to 
conquer,  never  allows  anything  trashy  or  trivial 
to  mar  the  artistic  harmony  of  his  theme.  He 
does  not  need  to  resort  to  any  such  tricks  to 
succeed.  His  popularity  has  been  won  by  his 
personal  genius  and  his  sincere  devotion  to 

the 


23 

the  very  best  music.  What  prepossesses  an  audience 
at  once  in  his  favor  is  the  genuine  simplicity  of  his 
bearing,  the  absence  of  all  desire  to  pose.  He  never 
indulges  in  any  antics  or  capers,  but  comes  on  the  stage 
with  modest  bearing,  takes  his  seat  at  the  piano,  prel- 
udizes  a  moment — what  superb  chords  ! — till  all  is  quiet, 
and  then  plays  as  only  he  can  play. 

Perhaps  the  first  thing  that  strikes  the  average  spec- 
tator on  seeing  Paderewski  at  the  piano  is  the  entire 
absence  of  effort  in  his  performance.  He  seems  to 
shake  the  notes  from  his  sleeves  like  a  prestidigitateur; 
technical  difficulties  do  not  exist  for  him ;  indeed, 
from  his  playing  one  might  fancy  that  there  was  no 
such  thing  as  a  difficult  piece,  and  that  anybody  might 
do  what  seems  so  absurdly  easy. 

Charlatans  draw  attention  to  their  skill  by  an  obtru- 
sive brilliancy  of  execution  and  a  parading  of  difficul- 
ties. It  cannot  be  denied  that  this  is  a  good  way  to 
"astonish  the  natives,"  and  that  it  often  brings  a  cer- 
tain kind  of  soffcess.  But  astonishment  is  a  state  of 
mind  which  is  soon  dulled,  and  for  permanent  success 
with  the  public  it  is  necessary  to  appeal  to  the  deeper 
and  more  aesthetic  emotions.  The  secret  of  Paderewski' s 
permanent  success  lies  in  this,  that  he  makes  us  forget 
that  there  is  such  a  thing  as  technique  by  his  supreme 
mastery  of  it  and  by  making  the  musical  ideas  he  inter- 
prets so  absorbingly  interesting  to  all  classes  of  hear- 
ers. Paradoxical  as  it  may  seem,  it  may  be  said  that 
the  genius  of  a  musician  is  most  unmistakably  revealed 
in  his  power  over  the  unmusical.  Genius  makes  ex- 
tremes meet ;  that  is  to  say,  it  fascinates  not  only  those 
who  have  the  most  highly  cultivated  taste  for  music, 
but  also  those  to  whom  the  art  is  usually  a  sealed  book 
and  the  playing  of  ordinary  academic  pianists  "all 
Greek."  Genius  translates  this  Greek  into  English,  or 
any  other  language  you  please.  It  is  an  emotional 
Volapuk  which  makes  all  music  intelligible  to  every- 
body. 

This  is  not  mere  "sentiment,"  or  "fine  writing."  I 

really 


24 

really  know  of  unmusical  individuals  who  shun  piano  re- 
citals as  intolerable  bores,  but  who  never  miss  a  Paderew- 
ski  recital,  because,  when  he  plays,  Bach  and  Beethoven 
are  no  longer  riddles  to  them  but  sources  of  pleasure. 

Vanity  is  the  principal  cause  of  the  failure  of  many 
brilliant  pianists.  They  try  to  show  the  public  not  how 
beautiful  the  music  of  Chopin  or  Schumann  is,  but 
what  clever  performers  they  themselves  are.  The  pub- 
lic soon  notes  their  insincerity,  and  neglects  their  con- 
certs. Paderewski,  on  the  other  hand,  never  plays  at 
an  audience.  He  hardly  seems  to  play  for  it,  but  for 
himself.  I  once  asked  him  if  he  ever  felt  nervous  in 
playing,  and  he  said  he  often  did,  but  only  because  he 
feared  he  might  not  satisfy  himself.  He  is  his  own 
severest  critic. 

Paderewski  almost  always  begins  a  concert  with  Bach, 
Handel,  Scarlatti  or  some  other  very  old  master,  follow- 
ing this  up  with  Mozart  or  Beethoven,  then  the  German 
romantic  school  (Weber,  Schubert,  Schumann),  and 
finally  the  Slavic  and  Hungarian  schools — Rubinstein, 
Chopin,  Paderewski,  Liszt.  This  historic  arrangement 
has  the  obvious  advantage  that  it  leads  the  individual 
hearer  through  the  same  stages  of  development  that  the 
musical  race  went  through.  Each  of  the  recitals  thus 
becomes  an  object-lesson  in  musical  history,  adding 
instruction  to  pleasure. 

It  should  be  borne  in  mind  that  the  excessive  fatigue 
of  constant  travel  has  had  the  natural  result  of  making 
some  of  his  recitals  less  interesting  than  others.  If  there 
are  any  who  have  heard  him  but  once  and  who  were 
disappointed,  they  will  herein  find  the  explanation. 
Even  when  he  is  in  the  concert  mood,  it  often  happens 
that  he  has  to  play  two  or  three  pieces  before  he  is  at 
his  best — a  common  experience  with  artists.  But  it  is 
not  always  so,  especially  when  Bach  heads  the  list.  On 
such  an  occasion  an  expert  who  had  never  before  heard 
him  play  would  be  apt  to  say  to  himself,  "  This  man  is 
evidently  a  Bach  specialist ;  he  has  played  his  best  card 
first."  Later  on  he  would  feel  inclined  to  pronounce 

him 


25 


him  a  Beethoven  specialist ;  but  not  till  after  the  Schu- 
mann, Chopin,  and  Liszt  numbers  would  he  discover  the 
whole  truth,  namely,  that  Paderewski  is  a  specialist  in 
all  good  music.  Like  Liszt,  he  has  the  mocking-bird 
gift  of  imitating  the  style  of  all  the  great  pianists  and 
composers,  often  surpassing  them  in  their  own  song. 

That  he  is  preeminent  above  all  pianists  in  the  matter 
of  beauty  and  variety  of  tone-color  is  a  fact  beyond  all 
dispute.  Dr.  William  Mason,  a  pupil  of  Liszt,  considers 
him  in  this  respect  superior  even  to  his  master.  Having 
heard  Liszt  only  once,  I  feel  hardly  entitled  to  an  opin- 
ion in  this  matter,  but  I  do  not  for  a  moment  doubt  Dr. 
Mason's  judgment.  The  gift  of  a  beautiful  tone  (touch) 
comes  by  nature,  like  a  beautiful  face,  but  it  can  be  im- 
proved by  cultivation  and  exercise.  We  have  seen  that 
as  a  boy  Paderewski  used  to  listen  to  the  vibrations 
that  make  up  a  tone,  and  modify  his  touch  till  he  got 
these  vibrations  just  as  his  delicate  sense  of  tonal  beauty 
wanted  them.  Something  similar  to  this  he  does  to  this 
day  at  his  recitals.  He  has  no  looks,  no  grimaces,  for 
the  audience.  No  public  smile  ever  sits  on  his  lips,  yet 
if  you  look  closely  you  will  observe  subtle  changes  of 
expression  on  his  features :  he  is  listening  intently  to 
his  own  playing,  and  if  the  tone  is  as  beautiful  as  he 
wishes  it,  an  expression  of  pleasure  flits  across  his  fea- 
tures. He  seems  to  be  far  away  in  dreamland,  playing 
for  himself  alone  ;  and  his  reward  is  not  the  applause  of 
the  audience,  but  the  delight  in  his  own  playing. 

Tone,  in  a  modern  piano,  is  as  much  a  matter  of  ped- 
alling as  of  finger- touch.  By  pressing  the  right  pedal, 
we  lift  the  dampers  from  all  the  strings  and  allow  the 
sympathetic  overtones  to  add  their  voices  to  the  tones 
we  strike,  thus  enriching  and  deepening  the  colors.  No 
other  pianist,  except  perhaps  Chopin,  has  understood 
the  art  of  pedalling  as  Paderewski  understands  it.  In 
this  respect  he  is  epoch-making ;  his  pedalling  is  a 
source  of  unending  delight  and  study  to  connoisseurs. 
No  expert  could  mistake  his  chords  and  arpeggios  for 
those  of  any  other  pianist.  No  other  has  quite  such  a 

limpid 


26 

limpid  yet  deep  tone,  a  tone  of  such  marvellous  carrying 
power  that  its  pianissimo  is  heard  in  the  remotest  parts 
of  the  house ;  no  other  can,  like  him,  make  you  hear 
soft,  voluptuous  horns,  lugubrious  bassoons,  superbly 
sustained  organ-pedals,  and  amorous  violoncello  tones. 
So  perfect  is  his  pedalling  that  he  never  by  any  accident 
blurs  his  harmonies  and  passages,  while  at  the  same 
time  he  produces  tone-colors  never  before  dreamt  of  in 
a  pianoforte.  By  rapid  successive  pressures  of  the  ped- 
al he  succeeds  in  giving  the  piano  a  new  power,  that 
of  changing  the  quality  of  a  tone  after  it  has  been 
struck,  as  every  one  must  have  noticed,  for  instance, 
in  his  performance  of  his  popular  Minuet. 

Hans  von  Bulow,  in  his  edition  of  Beethoven's  piano- 
forte works,  marks  certain  passages  quasi  violoncello — 
or  some  other  instrument  which  the  composer  evidently 
had  in  mind.  Bulow  himself  was  not  very  successful 
in  suggesting  these  orchestral  tints,  whereas  Paderew- 
ski  constantly  does  so  in  the  most  fascinating  manner, 
especially  in  Liszt,  whose  style  is  often  orchestral  in  its 
suggestiveness,  without  ceasing  to  be  idiomatically  pi- 
anistic.  If  occasion  calls  for  it,  Paderewski  can  convert 
the  piano  into  a  small  stormy  orchestra  ;  but  he  has  a 
way  of  his  own  for  producing  orchestral  effects  which 
depends  on  the  skilful  use  of  the  pedals  instead  of  on 
muscular  gradations  of  forte  and  piano.  For  instance, 
as  the  surging  sounds  of  some  mighty  arpeggios  grad- 
ually die  away  over  the  pedal,  you  will  hear  above  them 
a  weird  sustained  tone,  like  that  of  a  muted  horn  from 
another  world  ;  another  moment  you  will  hear  the  wail 
of  an  oboe,  or  the  majestic  strains  of  trombones,  or  the 
sonorous  boom  of  a  bell ;  and  in  the  Chopin  Berceuse 
he  converts  the  piano  into  an  seolian  harp  whose  har- 
monies seem  to  rise  and  fall  with  the  gentle  breezes. 
By  the  clever  use  of  pedal  and  arpeggios  he  produces 
that  "continuous  stream  of  tone"  which  was  char- 
acteristic of  Chopin's  playing,  and  which,  in  its  un- 
broken succession  of  multi-colored  harmonies,  reminds 
one  of  the  magic  tone-colors  and  mystic  sounds  that 

come 


27 

come  up  from  the  invisible  Wagnerian  orchestra  at 
Bayreuth. 


BACH   AS  A   MODEKN  KOMANTICIST. 


Mozart  once  came  across  a  composition 
by  the  neglected  Bach  he  exclaimed, 
"  Thank  heaven,  here  at  last  is  a  piece  from 
which  I  can  learn  something."  Beethoven 
said  of  this  same  composer  that  his  name  should  not  be 
"  Bach  "  (brook),  but  "  Ocean."  It  is  well  known  with 
what  enthusiasm  Mendelssohn  revived  Bach,  and  how 
the  Philistines  ridiculed  him  for  it  ;  well  known  how 
Schumann  and  Wagner  worshipped  Bach,  and  declared 
him  the  master  of  masters.  At  first  hearing,  nothing 
could  seem  less  similar  than  Chopin  and  Bach,  yet  the 
influence  of  Bach  becomes  more  and  more  obvious  in  the 
latest  and  most  mature  works  of  Chopin  ;  and  through 
his  life,  whenever  Chopin  prepared  for  a  concert,  he,  to 
use  his  own  words,  "shut  himself  up  for  a  fortnight  to 
play  Bach." 

Yet  the  public  persists  in  considering  Bach  a  mere 
bundle  of  dry  counterpoint.  Why?  Because  he  is 
seldom  interpreted  as  he  ought  to  be  in  the  modern 
romantic  spirit.  It  remained  for  Liszt  to  show  to  the 
world  what  there  is  in  Bach.  Read  what  Wagner 
wrote  when  Liszt  played  for  him  the  fourth  prelude 
and  fugue  from  the  "  Well-Tempered  Clavichord"  :  "  I 
knew  indeed  very  well  what  I  was  to  expect  of  Liszt  at 
the  piano  ;  but  what  I  now  learned  to  know  I  had  not 
expected  of  Bach  himself,  well  as  I  had  studied  him. 
It  showed  me  how  little  study  amounts  to  compared 
with  revelation" 

Let  the  young  ladies  who  are  studying  music  bear 
that  last  sentence  in  mind.  They  will  learn  more  by 
hearing  Paderewski  play  once  than  by  taking  a  hun- 
dred ordinary  lessons.  For  Paderewski  is  the  Liszt 
of  to-day.  He  plays  Bach  as  Liszt  played  him.  He 

makes 


28 

makes  a  chromatic  fantasia  and  fugue  sound  like  a 
modern  improvisation.  He  scorns  the  "angular  fash- 
ion" of  playing  Bach  which  was  in  vogue  among  the 
older  pianists,  but  treats  him  as  a  modern  romanticist. 
He  convinces  you  of  the  fact  that  Bach,  though  he  was 
born  in  1685,  is  really  one  of  the  most  modern  com- 
posers ;  a  composer,  in  truth,  of  whose  works  most 
are  still  "music  of  the  future."  They, would  not  re- 
main so  long  were  there  more  Liszts  and  Paderewskis 
to  reveal  their  wealth  of  tone,  their  organ-like  sonor- 
ity, and  above  all  their  marvellous  polyphonic  web  of 
melodies.  Paderewski  plays  these  interwoven  simul- 
taneous melodies  with  such  clearness  that  the  ear  can 
follow  each  as  easily  as  if  it  were  played  on  a  separate 
instrument  of  the  orchestra.  When  you  hear  him  play 
Bach,  you  realize  that  they  who  say  there  is  no  mel- 
ody or  emotion  in  him,  simply  do  not  see  the  forest  on 
account  of  the  trees. 

THE  IDEAL  BEETHOVEN  PLAYEE. 

^  amusing  episode  in  Paderewski' s  American  ex- 
periences  was  brought  about  by  the  question 
whether  he  could  play  Beethoven.  We  all 
know  that  D' Albert  is  (as  Billow  was)  less  satis- 
factory in  Chopin  and  Liszt  than  in  Beethoven 
and  Brahms,  and  as  a  rule  it  is  also  true  that  pian- 
ists of  the  Chopin-Liszt  school  are  not  equally  in- 
teresting in  Beethoven  and  the  so-called  German 
"classical"  school  in  general.  As  Paderewski  be- 
longs to  the  Chopin-Liszt  school,  it  was  natural  to 
suppose  that  he  was  not  a  great  Beethoven  player  ;  and 
the  first  year  the  critics,  with  very  few  exceptions,  said 
so.  It  cannot  be  denied  that  he  did  not  always  make 
so  deep  an  impression  with  Beethoven  as  with  composers 
of  the  romantic  school ;  but  this,  I  insisted,  was  quite 
as  much  the  fault  of  Beethoven  as  of  Paderewski,  since 
Beethoven,  with  all  his  wealth  of  ideas,  is  not  an  idio- 
matic writer  for  the  pianoforte,  and  his  works  for  that 
instrument  are,  therefore,  in  the  matter  of  style  and 

fascination, 


fascination,  inferior  to  those  of  Bach,  Chopin  and  Schu- 
mann, and  do  not  stir  a  modern  audience  so  deeply  as 
compositions  of  the  romantic,  idiomatic  school.  On 
this  point  most  professionals  and  amateurs  are  agreed; 
yet,  thanks  to  a  strange  kind  of  conservative  terrorism, 
very  few  have  the  courage  to  express  their  convictions. 
Beethoven  is  expected  to  arouse  as  much  applause  as 
Chopin,  and  if  he  fails  to  do  so,  the  pianist  is  blamed  1 

On  this  subject  the  eminent  pianist  and  teacher,  Dr. 
William  Mason,  contributed  some  articles,  at  the  crit- 
ical moment,  to  the  Century  and  Evening  Post,  which 
threw  much  light  on  the  matter  and  brought  out  the 
comic  side  of  the  discussion.  Dr.  Mason  frankly  con- 
fessed that,  in  his  opinion,  Beethoven's  pianoforte 
works  are  not  idiomatic;  adding:  "Forty  years  ago 
my  teachers,  Moscheles,  afterwards  Dreyschock,  and 
finally  Liszt,  used  to  say  that  Beethoven's  piano  com- 
positions were  not  Klamermdssig  .  .  .  not  written  in 
conformity  with  the  nature  of  the  instrument."  He 
also  pointed  out  that  "whenever  a  pianist  makes  his 
first  appearance  in  public  as  a  Beethoven  player,  he  is 
at  once  subjected  to  strictures  on  all  sides  by  numerous 
critics  who  seem  to  have  been  lying  in  wait  for  this 
particular  occasion,  and  there  immediately  arise  two 
parties,  each  holding  positive  opinions,  of  which  the 
one  in  the  negative  is  usually  the  more  numerous.  This 
is  by  no  means  a  new  fad,  but  quite  an  old  fashion, 
dating  back,  at  least  as  far  as  the  writer's  experience 
goes,  something  over  forty  years  and  probably  much 
further."  No  pianist  was  spared  in  this  process,  not 
even  Liszt,  of  whom  many  of  the  critics  said  that  he 
could  not  play  Beethoven,  whereas,  according  to 
Wagner,  he  was  the  first  who  revealed  the  inner  spirit 
of  Beethoven's  music. 

Following  out  Dr.  Mason's  suggestions,  I  made  some 
researches  and  found  that,  according  to  the  great  com- 
poser's contemporaries,  Beethoven  himself  could  not 
play  Beethoven!  C.  Pleyel,  for  instance,  wrote  that 
he  had  no  "school,"  that  his  playing  was  "not  pure," 

that 


30 


that  he  "pounded  too  much,"  and  created  difficulties 
which  he  could  not  overcome.     After  this  reductio  ad 
absurdum  little  more  was  heard  about  Paderewski' s 
inability  to  play  Beethoven.     Dr.  Mason  summed  up  his 
verdict  on  Paderewski  by  saying  that,  on  the  whole, 
"  he  stands  more  nearly  on  a  plane  with  Liszt  than  any 
other  virtuoso  since  Tausig.     His  conception  of  Bee- 
thoven combines  the  emotional  with  the  intellectual  in 
admirable  poise  and  proportion ;   thus  he  plays  with 
a  big,  warm  heart,  as  well  as  with  a  clear,  calm,  and 
discriminative  head,   hence  a  thoroughly  satisfactory 
result.     Those  who  prefer  a  cold,  arbitrary,  and  rigidly 
rhythmical  and  ex-cat7iedra  style  will  not  be  pleased." 
The  case  could  not  be  more  happily  stated  than  in 
these  words,  and  I  thoroughly  agree  with  Dr.  Mason. 
Paderewski  interprets  Beethoven  like  a  poet,  not  like  a 
formal  dancing-master.     It  is  a  great  mistake  to  sup- 
pose that  Beethoven  himself  preferred  the  metronomic 
style  d  la  pendulum.     Schindler,   a  reliable  witness, 
wrote,  "What  I  heard  Beethoven  himself  play  was, 
with  few  exceptions,  free  from  all  restraint  in  tempo  ; 
it  was  a  tempo  rubato  in  the  most  proper  sense  of  the 
word,  as  conditioned  by  context  and  situation."     Liszt 
and  Paderewski,   in  a  word,  have  simply  revived  the 
correct  way  of  playing  Beethoven's  sonatas,  as  Wagner 
and  his  pupils,  Hans  von  Billow,  Hans  Rlchter,  and 
Anton  Seidl  revived  the  correct  way  of  playing  his 
symphonies. 

SCHUBERT,   MENDELSSOHN,    SCHUMANN. 

ADEREWSKI  plays  Mozart  with  the  simplicity 
of  a  happy  boy,  and  Schubert  with  all  the  poetry 
pertinent  to  that  master  of  melody  and  exquisite 
modulation.  "Our  pianists,"  wrote  Liszt  in  one 
of  his  letters,  "have  scarcely  an  inkling  of  the 
glorious  treasures  hidden  among  Schubert's 
pianoforte  compositions."  While  Schubert  is, 
in  his  sonatas,  distinctly  inferior  to  Beethoven,  in  his 
short  pieces  he  is  more  original  and  idiomatic  than 

Beethoven, 


31 

Beethoven,  and  luckily  these  pieces  are  coming  more 
and  more  into  vogue  at  recitals.  No  other  pianist 
plays  Schubert  more  frequently  than  Paderewski ; 
certainly  no  one  plays  him  more  lovingly,  or  with  such, 
ravishing  tone-color  and  depth  of  emotion.  What  could 
be  more  bewitching  than  the  dainty  way  in  which,  in 
the  "Soirees  de  Vienne,"  he  sets  off  Schubert's  exqui- 
site melody  amid  Liszt's  inimitable  jeweller's  work? 

One  of  the  pieces  which  he  is  usually  compelled  to 
repeat  is  the  song  "Hark,  Hark,  the  Lark."  He  plays 
this  with  a  rubato  which  is  simply  enchanting,  a  rubato 
concerning  which  more  will  be  said  presently.  Pade- 
rewski proves  that  a  free,  elastic  tempo  is  as  great  a 
charm  in  Schubert  as  in  Chopin  or  Liszt.  And  how  his 
fingers  do  sing  the  melody  on  the  keyboard !  Young 
pianists  are  usually  advised  to  go  and  hear  great  vocal- 
ists, so  as  to  get  a  "singing"  style  on  their  instrument. 
But  in  tliis  case  matters  must  be  reversed.  There  are 
few  operatic  vocalists  of  the  day  who  could  not  learn 
from  Paderewski  how  to  sing. 

"I  am  sorry  to  find  Mendelssohn's  pianoforte  works 
neglected  in  this  country,"  Paderewski  once  said  to  a 
London  critic.  "Play  them  yourself,  master,  and 
bring  them  into  vogue  once  more,"  was  the  answer. 
He  did  so,  and  he  turned  them,  like  everything  he 
touches,  into  gold.  He  makes  people  feel  ashamed  of 
their  prejudices  against  this  or  that  composer,  or 
certain  forms  of  music.  Many  an  amateur  considers 
Mendelssohn  mawkish  and  antiquated,  but  let  him 
hear  this  Polish  pianist  play  the  "Variations  Seri- 
euses,"  and  he  will  cry  peccavi!  and  confess  that  Men- 
delssohn was  a  great  genius  after  all.  Even  the 
"Songs  Without  Words"  seem  to  lose  their  ultra- 
sentimentality  under  his  hands. 

At  one  of  his  New  York  concerts  Paderewski  made  a 
genuine  sensation  by  his  performance  of  Liszt's  fantasia 
on  Mendelssohn's  "Midsummer  Night's  Dream,"  one 
of  the  best  of  Liszt's  arrangements.  It  is  one  of  his 
attempts  to  convert  the  piano  into  an  orchestra,  and 

with 


32 

with  Paderewski  at  the  piano  the  success  is  surprising. 
Those  rapid,  rippling  violin  passages  were  not  only  as 
good  as  in  the  orchestra,  they  were  better ;  no  group 
of  violinists  I  have  ever  heard  has  succeeded  in  pro 
ducing  such  an  airy,  graceful  effect  with  them. 

Dr.  Riemann  has  truly  said  that  Mendelssohn  would 
have  made  five  or  ten  pieces  out  of  one  of  Schumann's. 
This  pithy  conciseness  is  what  makes  Schumann  so 
very  difficult  to  interpret.  Unless  every  note  is 
brought  out  in  its  proper  perspective,  the  poetic  effect 
is  lost.  Two  other  characteristic  traits  of  Schumann's 
music  are  rhythmic  energy  and  harmonic  subtlety, 
one  calling  for  masculine  vigor,  the  other  for  feminine 
refinement  of  feeling.  Paderewski  is  preeminent  as  a 
Schumann  interpreter  because  he  unites  these  traits  in 
his  style.  Under  his  hands,  too,  Schumann's  compli- 
cated rhythms  become  as  clear  as  a  simple  waltz  move- 
ment, and  when  he  plays  a  "Nachtstuck,"  how  he 
does  make  every  part  of  the  harmony  sing  in  turn  or 
in  combination !  He  has,  too,  the  very  rare  gift  of 
revealing  the  Jean-Paulesque  humor  in  Schumann's 
works,  and  nothing  could  be  more  amusing  than  the 
droll  yet  stately  manner  in  which,  when  he  plays  the 
"Papillons,"  he  reels  off  that  quaint  old  dance,  the 
Qrossvatertanz. 

Schumann's  Concerto  is  now  generally  regarded  as 
the  best  work  of  its  class  in  existence.  How  does 
Paderewski  play  it  ?  Lest  I  surfeit  the  reader  with  my 
own  opinions,  let  me  quote,  in  answer  to  this  question, 
what  a  German  critic,  F.  R.  Pfau,  wrote  on  the  occa- 
sion of  what  he  calls  Paderewski' s  "colossal  success" 
in  Dresden  on  February  15,  1895:  "No  one  who  has 
heard  him  play  the  Schumann  Concerto  will  ever  for- 
get the  impression.  Strange  that  he,  a  Pole  living  in 
France,  should  have  been  able  to  penetrate  to  the  inner 
spirit  of  this  thoroughly  German  music,  and  interpret 
it  in  a  manner  that  is  above  all  praise.  The  tender 
melodies  as  he  plays  them  float  in  a  fragrant  atmos- 
phere that  brings  before  the  mind's  eye  all  the  fairy 

world 


MR.    PADEREWSKI, 

M    PHOTOGRAPH    TAKEN    SEVERAL   YEARS   AGO. 


33 

world  of  German  romanticism,  while  on  the  other  hand 
the  grand  climaxes  in  the  first  movement  are  played 
by  him  with  an  overwhelming  effect  that  suggests  the 
passion  of  a  Southern  artist." 

THE   REAL  CHOPIN. 

XYONE  who  will  examine  a  few  of  Mr.  Pade- 
rewski's  programmes  will  see  at  a  glance  that 
Chopin  is  his  favorite ;  nor  is  it  strange  that 
he  should  prefer  his  countryman,  whose  national 
Polish  melancholy,  Slavic  rubato  and  ravishing  tone- 
colors  he  brings  out  as  only  a  Slavic  pianist  can. 
Before  he  came  into  the  concert  world  Chopin's 
music  had  been  played  by  so  many  great  pianists 
that  it  seemed  as  if  it  would  be  as  impossible  to  throw 
new  light  on  it  as  on  the  character  of  Hamlet ;  yet 
he  revealed  beauties  previously  unsuspected.  Before 
his  arrival  Pachmann  had  made  a  reputation  as  a 
Chopin  specialist,  and  it  must  be  admitted  that  as 
an  interpreter  of  the  delicate,  dainty,  brilliant  side 
of  Chopin  he  sometimes  equalled  Paderewski.  But 
he  failed  to  do  justice  to  the  masculine,  dramatic, 
energetic  side  of  Chopin's  genius,  thus 
helping  to  perpetuate  the  absurd  notion 
that  Chopin  was  always  a  "feminine" 
composer.  This  misconception  has  been 
corrected  for  all  time  by  Paderewski' s 
performance  of  the  polonaises,  sonatas, 
and  scherzos.  He  brings  out  the  JGIUSCTU 
lar,  dramatic  side,  not  by^oundin^ — his 
sense  of  tonal  beauty  is  too  keen  to 
mit  him  ever  to  pound,  even  in  moment! 
of  the  greatest  excitement — but  by  ner- 
vous powers  of  expression  ;  Ms  virility 
is  mental  ratJier  than  muscular,  and  the 
brain  is  mightier  than  the  arm.  He  re- 
veals to  us  all  the  masculine  force,  all 
the  stirring  scenes,  that  are  embodied  in 

the 


34 

the  dwarf  pieces  of  the  giant  Chopin.  When  he  plays 
the  B  minor  sonata  it  is  like  a  music-drama,  every 
moment  of  absorbing  interest. 

Paderewski  does  not  play  a  Chopin  ballad  ;  he  recites 
it  just  as  an  actor  would  recite  the  story  which  it  tells, 
with  dramatic  rubato/  dwelling  on  emphatic  words  and 
hurrying  over  others,  according  to  the  movement  of  the 
story.  This  is  what  is  meant  by  tempo  rubato.  Some 
of  Chopin's  pupils  have  said  that  he  advised  them  to 
confine  the  slight  changes  in  pace  to  the  melody,  mean- 
while preserving  strict  time  with  the  accompaniment. 
He  may  have  said  that  to  his  pupils,  but  I  decline  to 
believe  that  he  played  that  way  himself.  I  am  con- 
vinced that  his  rubato  was  more  like  Wagner's  dra- 
matic "  modification  of  tempo,"  which  affects  the  pace 
of  all  the  parts.  Certainly  that  is  the  rubato  as  Liszt 
understood  it,  and  as  Paderewski  uses  it  in  playing 
Liszt,  Chopin,  Schubert,  and  to  a  less  extent,  the  mas- 
ters of  the  classical  school.  He  lingers  over  bars  which 
have  pathos  in  their  melody  or  harmony,  and  slightly 
accelerates  his  pace  in  rapid,  agitated  moments  ;  but  he 
does  all  this  so  naturally,  so  unobtrusively,  that  one 
does  not  consciously  notice  any  change  in  the  pace — it 
seems  the  natural  movement  of  the  piece. 

One  of  the  lessons  taught  by  the  great  Polish  pianist 
is  that  there  is  no  such  thing  as  a  cast-iron  tempo  for 
any  piece,  or  a  single,  invariable  correct  way  of  play- 
ing it.  During  his  second  American  season,  for  in- 
stance, he  played  Chopin's  G  major  nocturne  three 
times,  giving  those  who  heard  it  each  time  a  chance  to 
marvel  at  the  spontaneity  and  recreativeness  of  his 
playing.  It  was  quite  a  different  piece  each  time,  vary- 
ing with  his  moods.  The  first  time  it  was  somewhat  prim 
and  "classical"  in  spirit,  the  second  time  romantic 
and  dreamy,  the  third  time  languid  and  melancholy. 
This  is  what  distinguishes  music  from  mechanism. 

What 


36 


LISZT  AND   HIS  EHAPSODIES. 

HAT  Liszt  said  in  regard  to  the  "glorious  treas- 
ures" hidden  among  Schubert's  neglected  piano- 
forte compositions  may  be  justly  applied 
to  his  own  works.  The  Liszt  missionary 
has  a  large  field  ;  few,  even  among  profes- 
sionals, know  how  very  large  it  is.  The 
number  of  Liszt's  compositions  exceeds 
twelve  hundred.  Among  them  are  one  hun- 
dred and  fifty-five  original  pieces  for  piano 
(two  hands),  and  three  hundred  and  fifty- 
onb  transcriptions  for  the  piano  of  pieces 
by  other  composers.  Only  a  small  proportion  of  these 
are  known  to  the  public  ;  but  they  are  gaining  ground 
every  year,  in  spite  of  the  amazingly  persistent  opposi- 
tion of  the  critics,  one  of  whom  wrote  not  long  ago  that 
"to  play  Liszt  well  requires  little  more  than  the  neces- 
sary amount  of  physical  force !''  When  I  read  one  of 
these  criticisms  I  am  always  reminded  of  what  Saint- 
Sae'ns  wrote  in  regard  to  Wagner's  "Walkure"  :  "A 
thousand  critics  writing  each  a  thousand  lines  a  day  for 
ten  years  would  injure  this  work  about  as  much  as  a 
child's  breath  would  do  towards  overthrowing  the  pyra- 
mids of  Egypt."  The  vast  majority  of  music-lovers  are 
enthusiastic  over  Liszt's  works,  and  they  know  that  they 
are  in  very  good  company  :  pianists  like  Joseffy,  D' Al- 
bert, Pachmann,  Tausig,  Billow  ;  conductors  like  Hans 
Bichter,  Anton  Seidl,  Theodore  Thomas,  Arthur  Nikisch, 
Felix  Mottl ;  composers  like  Saint- Saens,  Tchaikovsky, 
Dvorak,  Wagner,  who  once  declared  Liszt  "the  great- 
est musician  that  ever  lived." 

Paderewski,  too,  is  a  most  devoted  admirer  and  cham- 
pion of  Liszt,  and  I  shall  never  forget  the  amiably  sar- 
castic smile  on  his  lips  when  a  certain  critic  begged  him 
not  to  play  any  more  of  the  rhapsodies.  He  played  two 
at  his  next  recital !  If  questioned  on  the  subject,  his 
answer  leaves  nothing  to  be  desired  in  point  of  decision 

and 


36 


and  enthusiasm  ;  but  it  is  in  his  performances  that  he 
most  eloquently  reveals  his  love  of  Liszt.  Schumann 
once  said  of  Thalberg  that  he  had  the  gift  of  dressing 
up  commonplace  ideas  in  such  a  way  as  to  make  them 
interesting.  Liszt  had  the  higher  gift  of  taking  the 
ideas  of  the  greatest  composers  and  transcribing  them  for 
the  piano  in  such  a  way  as  to  make  them  even  superior 
to  the  original.  Thus  he  succeeded  in  doing  with 
music  what  no  poet  has  ever  succeeded  in  doing  with 
verse — translate  it  successfully  into  another  idiom. 
These  Liszt  transcriptions  include  almost  everything 
that  is  best  in  all  branches  of  the  art,  and  in  making 
them  accessible  to  all  who  possess  a  piano,  he  did  an 
inestimable  service  to  music.  But  to  realize  the  full 
charm  of  these  transcriptions  one  must  hear  Paderewski 
play  them  ;  he  can  even  take  the  taint  of  sensationalism 
out  of  the  earlier  ones,  which  Liszt  himself  in  later 
years  disliked. 

To  speak  of  Liszt's  rhapsodies  as  merely  "brilliant" 
or  "sensational"  is  to  display  a  woful  ignorance; 
for  they  contain  the  quintessence  of  the  melodies, 
rhythms,  and  ornaments  of  two  of  the  most  musical  of 
all  nations,  the  Hungarians  and  the  Gypsies.  They  are 
collections  of  musical  odes,  ballads,  idyls,  songs  of 
war,  of  sorrow,  love  and  conviviality,  all  welded  into 
organic  works  of  art  by  Liszt's  rare  genius  and  techni- 
cal mastery.  In  Liszt' s  rhapsodies  these  gypsy  orchids 
are  arranged  in  a  spontaneous  disorder,  which  is  in- 
finitely more  natural  and  artistic  than  the  academic 
artificiality  of  a  symphony  in  four  geometrical  move- 
ments. •  They  will  ever  form  the  delight  of  those  whose 
musical  enjoyment  does  not  consist  in  the  pedantic 
analyzing  of  sonatas,  but  who  take  pleasure  in  the 
spontaneous  melodies  in  which  the  naive  populace,  in 
its  moments  of  poetic  emotion,  has  embodied  its  joys 
and  sorrows. 

It  is  in  his  modifications  of  tempo,  his  inimitable 
rubato,  that  lies  the  chief  witchery  of  Paderewski' s 
Liszt  playing.  Liszt  carries  the  rubato  even  farther 

than 


37 


than  Chopin;  there  are  movements  where  hardly  a  dozen 
successive  bars  have  the  same  pace.  Paderewski  plays 
the  rhapsodies  like  improvisations — inspirations  of  the 
moment.  It  is  the  negation  of  the  mechanical  in  music, 
the  assassination  of  the  metronome.  When  ordinary 
pianists  play  a  Liszt  rhapsody,  there  is  nothing  in  their 
performance  that  a  musical  stenographer  could  not 
note  down  just  as  it  is  played.  But  what  Paderewski 
plays  could  not  be  put  down  on  paper  by  any  system  of 
notation  ever  invented.  For  such  subtle  nuances  of 
tempo  and  expression  there  are  no  signs  in  our  musical 
alphabet.  But  it  is  precisely  these  unwritten  and  un- 
writable things  that  constitute  the  soul  of  music  and 
the  instinctive  command  of  which  distinguishes  a 
genius  from  a  mere  musician. 

PADEREWSKI   AS   A   COMPOSER. 

FTER  all,  the  greatest  pleasure  a  great  pianist 
can  give  is  when  he  plays  his  own  compositions. 
Even  when  they  are  not  of  the  highest  order  they 
gain  a  charm  from  their  authoritative  and  sympathetic 
interpretation,  and  when  they  are  of  the  highest  order 
the  combination  is  irresistible.  Creative  genius  betrays 
itself  infallibly  in  interpretation  as  well  as  in  compo- 
sition, and  when  the  pianist  plays  his 
own  piece  he  can  give  it  the  charm  of 
an  improvisation.  All  the  greatest  pi- 
anists— Chopin,  Liszt,  Rubinstein,  etc. 
— were  composers  as  well  as  virtuosi, 
and  all  were  at  their  best  in  playing 
their  own  pieces.  Of  Paderewski  it 
must  be  said,  as  of  Chopin,  Liszt,  and 
Rubinstein,  that  great  as  is  his  skill  as 
pianist,  his  creative  power  is  even  more 
remarkable. 

Although  he  is  a  Pole  and  Chopin 
his  idol,  yet  his  music  is  not  an  echo  of 
Chopin's.  To  a  London  journalist  he 
once  remarked  on  the  subject  of  Polish 

music : 


343685 


38 

music  :  "  It  is  almost  impossible  to  write  any  nowadays. 
The  moment  you  try  to  be  national,  Bvery  one  cries  out 
that  you  are  imitating  Chopin,  whereas  the  truth  is  that 
Chopin  adopted  all  the  most  marked  characteristics  of 
our  national  music  so  completely  that  it  is  impossible 
not  to  resemble  him  in  externals,  though  your  methods 
and  ideas  may  be  absolutely  your  own."  His  music 
has  Chopin's  thoroughly  idiomatic  piano  style,  but  in 
invention  and  development  it  is  his  own,  and  it  has  an 
individuality  as  striking  as  that  of  Grieg  or  Dvorak. 

Through  the  courtesy  of  Mr.  Paderewski  I  am  enabled 
to  offer  the  reader  on  another  page  a  f  ac-simile  in  his  own 
handwriting  of  one  of  his  favorite  compositions. 

He  wrote  a  set  of  Polish  dances  at  the  early  age  of 
seven,  but  did  not  publish  anything  before  he  was 
twenty-two.  A  glance  at  his  three  dozen  or  more  piano 
pieces  shows  that  in  form  as  in  spirit  they  belong  to  the 
Polish  branch  of  the  modern  romantic  school.  Among 
them  are  Krakowiiks,  Mazurkas,  Polonaises,  and  other 
Polish  dances,  also  a  Caprice,  Intermezzo,  Legend,  Bar- 
carolle, Sarabande,  Elegy,  Melodies,  etc.,  all  of  them 
short  pieces  such  as  are  characteristic  of  the  romantic 
school.  To  the  "classical"  form  he  has  paid  deference 
only  in  his  concerto  and  his  sonata  for  violin  and  piano, 
although  even  here  he  avoids  the  artificiality  and  inter- 
minableness  of  the  ' '  classical ' '  school.  It  is  to  be  hoped 
that  he  will  have  the  courage  to  pay  no  further  tribute  to 
the  obsolete  sonata  form,  but  follow  in  the  footsteps  of 
Chopin  and  Liszt  in  composition  as  he  does  in  playing. 
In  that  direction  lies  the  concert  music  of  the  future. 

It  is  not  my  intention  to  make  an  analysis  of  Pade- 
rewski's  compositions.  I  will  merely  call  attention  to 
a  few  of  the  most  popular  and  important  ones.  V~To  the 
public  at  large  the  best  known  is  his  Minuet.  Whenever 
he  plays  this  piece  (usually  as  an  encore),  the  audience 
bursts  out  into  applause  after  the  first  three  bars,  to  show 
its  delight  at  his  choice.  It  is  not  too  much  to  say  that 
this  Minuet  is  quite  on  a  par  with  Mozart's  famous 
"Don  Juan"  Minuet,  but  with  modern  refinements  of 

harmony 


39 

harmony  and  tone-color  of  which  Mozart  never  dreamed. 
A  writer  in  the  German  periodical  Ueber  Land  und  Meer 
tells  an  amusing  anecdote  about  this  Minuet :  "When 
Paderewski  was  a  professor  at  the  Warsaw  Conserva- 
tory, he  was  a  frequent  visitor  at  my  house,  and  one 
evening  I  remarked  that  no  living  composer  could  be 
compared  with  Mozart.  Paderewski' s  only  reply  was 
a  shrug  of  the  shoulders,  but  the  next  day  he  came 
back,  and,  sitting  down  at  the  piano,  said,  'I  should 
like  to  play  you  a  little  piece  of  Mozart's  which  you 
perhaps  do  not  know.'  He  then  played  the  Minuet.  I 
was  enchanted  with  it  and  cried,  '  Now  you  will  your- 
self acknowledge  that  nobody  of  our  time  could  furnish 
us  with  a  composition  like  that!'  'Well,'  answered 
Paderewski,  'this  Minuet  is  mine. '*JT7  X,  \d 

One  of  the  most  charming  of  thensftorter  pieces  is  the 
"Chant  du  Voyageur  "  (opus  8,  No.  3) — a  piece  that  has 
brought  tears  to  the  eyes  of  many  hardened  profession- 
als. Its  first  three  notes  suggest  by  their  beat  that 
celestial  melody  in  Chopin' s  great  Scherzo  (opus  20)  as 
if  to  show  its  affiliation  with  the  Chopin  school ;  the 
rest  of  it  is  an  expression  of  a  new  individuality  in 
music — one  destined  to  mark  a  new  epoch.  I  have  never 
heard  an  opus  8  so  mature,  so  original,  so  deeply  emo- 
tional. But  you  must  hear  him  play  it  to  realize  all  its 
charms. 

A  masterpiece  among  his  short  works  is  the  Theme 
Varie,  opus  11.  The  theme  itself  has  the  simplicity  of 
a  Gluck  melody,  but  on  it  is  built  p.n  original  harmonic 
structure  that  Chopin  might  have  been  proud  of.  It  is 
a  superbly  romantic  and  emotional  work.  Of  his  Va- 
riations et  Fugue,  No.  1,  it  may  be  said  that  the  theme 
has  a  balladlike  character,  and  the  variations  are  not 
mere  musical  rhetoric — the  art  of  saying  the  same  thing 
in  different  ways — but  they  tell  a  tale  with  bright  and 
tragic  episodes.  One  of  the  variations,  with  an  obsti- 
nately repeated  bass,  suggests  the  tolling  of  funeral 
bells.  His  Legend  begins  with  a  mysterious  plaintive 
narrative,  leading  up  gradually  to  a  terrific  tragedy, 

after 


40 

after  which  the  tone  poem  is  finished  in  quieter  stanzas. 
His  Cracovienne  is  as  exotic,  as  weirdly  half-Asiatic,  as 
the  most  Polish  of  Chopin's  mazurkas  or  the  most  Mag- 
yar of  Liszt's  rhapsodies. 

The  four  songs  included  in  opus  7  resemble  Chopin' s 
Polish  songs,  but  are  not  equal  to  the  piano  pieces. 
During  his  second  Ameriaan  tour  he  occasionally 
hummed  and  played  for  his  friends  a  set  of  six  new 
songs  which  he  had  not  yet  committed  to  paper.  They 
subsequently  appeared  in  print  in  a  translation  by  Miss 
Alma  Tadema  and  an  American  version  by  Mrs.  H.  D. 
Tretbar.  Of  these,  perhaps,  "My  Tears  are  Flowing," 
"The  Piper's  Song,"  and  "  Over  the  Waters"  are  the 
best ;  but  they  are  all  good.  They  were  first  sung  in 
England  by  Mr.  Lloyd  to  the  composer's  accompaniment, 
and  created  quite  a  sensation.  There  is  a  suggestion  in 
them  of  Grieg,  but  this  is  merely  evidence  of  the  curious 
affinity  between  Norwegian  and  Polish  music. 

The  sonata  for  violin  and  piano  to  which  reference  has 
been  made  was  played  in  New  York  by  Professor  Brod- 
sky  and  the  composer.  It  is  original  in  its  themes  and 
admirably  suited  to  the  character  of  the  two  instruments. 
'  One  of  its  modern  features  is  its  brevity — it  lasts  only 
twenty  minutes.  A  more  important  work  is  the  piano 
concerto  opus  17.  What  vigor  in  the  opening  allegro, 
what  poetry  in  the  romance,  what  life  and  spirit  in  the 
finale !  Hans  Bichter  once  said  that  the  supreme  test 
of  a  born  composer  lay  in  his  slow  movements ;  he 
pointed  to  Beethoven,  Schubert,  and  Dvorak,  among 
others,  in  proof  of  his  assertion.  Had  he  known  the 
dreamy  Romanza  of  this  concerto  he  would  certainly 
have  added  Paderewski.  I  know  of  nothing  more  superb 
in  the  whole  range  of  piano  literature,  and  it  is  only  his 
opus  17.  It  reveals  Paderewski,  too,  as  the  first  Polish 
composer  who  is  as  great  a  master  of  the  orchestra  as  of 
the  piano. 

The 


41 


THE   POLISH   FANTASIA. 

greatest  of  Paderewski's  works  are  Ms  Polish 
Fantasia  and  his  opera.  The  opera  he  has  just  com- 
pleted, and  it  will  have  its  first  performances  in  Buda 
Pesth,  London,  and  Dresden.  It  is  on  a  Polish  subject, 
its  scene  being  laid  in  the  Car- 
pathian Mountains.  Mr.  Alexan- 
der McArthur,  formerly  Rubin- 
stein's secretary,  had  the  privi- 
lege in  Paris  of  hearing  him  play 
parts  of  this  opera.  He  says  that 
"like  all  Poles,  Paderewski  is 
superstitious,  and  believes  that 
any  undertaking  spoken  of  before 
its  completion  more  or  less  pre- 
sages ill  luck ;  consequently  I  had 
to  give  him  my  word  of  honor  I 
would  keep  silent  on  the  matter 
of  this  new  opera.  However,  there 
is  one  thing  I  can  say  without 
overstepping  the  mark,  which  is, 
that  this  opera  of  Paderewski's 
is  going  to  do  more  for  his  fame  than  even  his  piano- 
playing  has  done,  and  that  it  will  mark  an  era  not  only 
in  the  great  pianist-composer's  career,  but  an  era  in  art 
itself.  It  is  an  absolutely  superb  work,  great  in  inten- 
sity and  full  of  truly  human  pathos." 

In  the  summer  of  1893  Paderewski  wrote  his  Polish 
Fantasia,  which  has  brought  him  more  fame,  both  as 
composer  and  pianist,  than  anything  else  he  has  ever 
done.  It  had  its  first  performance  on  October  4,  of  the 
same  year,  at  the  Norwich  Festival  in  England,  of  which 
it  was  pronounced  the  most  attractive  and  sensational 
feature.  As  I  have  not  yet  had  the  pleasure  of  hearing 
this  work,  I  must  quote  the  opinions  of  other  critics  in 
whose  judgment  I  have  confidence.  The  London  Sun- 
day Times  wrote  of  it :  "The  new  Fantasia  proved  to 
be  a  symphonic  poem  for  piano  and  orchestra  in  four 

movements 


movements  (not 
three,  as  stated  in 
the  analysis),  and  a 
thoroughly  well- 
thought-out  musi- 
cianly  work  to  boot. 
Its  chief  character- 
istics are  its  intense 
national  feeling,  its 
constructive  skill, 
and  its  enormous 
difficulty.  The 
themes  are  all  origi- 
nal, and  it  takes  a  quick  ear  to  perceive  on  first  hearing 
with  what  skill  the  whole  of  them  are  derived  or  de- 
veloped from  two  or  three  main  subjects.  The  bold  in- 
troductory passages  merge  imperceptibly  into  the  well- 
worked  allegro  moderate  ;  the  impetuous  scherzo,  with 
its  mazurka-like  rhythm,  brings  a  great  change,  but 
in  the  andante  (a  gem  of  dreamy,  plaintive  melody), 
the  composer  is  in  reality  metamorphosing  material 
from  his  allegro ;  while  the  finale,  after  starting  with 
a  dashing  Cracovienne,  obtains  its  most  grandiose 

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43 

effect  from  the  theme  of  the  scherzo,  given  here  in 
augmentation." 

In  London  the  Polish  Fantasia  aroused  the  same  en- 
thusiasm as  at  Norwich ;  and  in  Paris,  last  spring, 
Lamoureux  had  to  repeat  it  three  times  in  the  vast 
Cirque  d'Ete.  Mr.  Alexander  Me  Arthur,  who  was  pres- 
ent at  these  concerts,  wrote:  "What  struck  me  most 
forcibly  about  the  Fantasia  was,  that  while  the  themes 
are  distinctly  Polish,  they  are  nevertheless  just  as  dis- 
tinctly non-Chopinesque,  something  truly  wonderful  in 
a  Polish  Fantasia  written  for  the  piano.  .  .  .  Paderew- 
ski  has  not  stooped  to  steal  his  themes  from  national 
melodies.  They  are  all  his  own.  .  .  .  The  orchestration 
is  superb,  and  it  is  owing  to  this  fact  especially  that  the 
non-traces  of  Chopin  can  be  proven.  In  fact,  fine  as  the 
piano  partition  undoubtedly  is,  that  for  the  orchestra  is 
still  finer.  The  ease  with  which  Paderewski  handles 
combinations  of  the  most  difficult  harmonic  effects  is 
wonderful,  and  his  skill  in  contrapuntal  groupings  mar- 
vellous. .  .  .  The  piano  partition  is  of  the  most  startling 
difficulty,  yet  there  is  not  a  bar  written  for  mere  effect." 

CONQUEST  OF   GERMANY. 

more  important  event  in  Paderewski' s  career 
remains  to  be  related — his  conquest  of  Germany. 
For  two  or  three  years  he  had  limited  his  activity  almost 
entirely  to  England  and  America.  Being  able  to  draw 
a  four  or  five  thousand  dollar  house  whenever  he  pleased, 
he  probably  saw  no  particular  reason  for  touring  in  the 
impoverished  continent,  where  half  that  sum  would  seem 
a  big  receipt.  However,  in  May,  1894,  he  consented  to 
play  his  new  Fantasia  at  the  biggest  of  the  German 
music  festivals,  the  Netherrhenish,  at  Aix-La-Chapelle. 
The  result  was  thus  described  by  Mr.  Otto  Floersheim : 
"I  was  dumfounded  by  both  the  composition  and  the 
performance,  and  after  it  was  all  over  got  as  crazy  as 
the  rest  of  the  audience  and  joined  in  a  hurrah  such  as 
the  venerable  city  of  Charlemagne  has  rarely  witnessed. 
Aix-La-Chapelle  stood  on  its  head  for  once,  and  the  walls 

of 


44 

of  the  Kurhaus  shook."  Regarding  his  performance 
Mr.  Floersheim  makes  this  significant  confession  :  "I 
had  not  heard  him  for  two  years,  and  in  the  meantime 
I  had  heard  four  times  Rubinstein,  any  number  of  times 
D' Albert,  Rummel,  Rosenthal,  and  some  of  the  other 
great  pianists  of  Europe,  and  I  had  gradually  lulled 
myself  into  the  thought  that  perhaps  after  all  I  had 
overrated  Paderewski.  I  had  been  told  it  so  often  in 
Berlin  that  finally  I  began  to  distrust  my  own  judg- 
ment, and  said  to  myself,  '  Well,  perhaps  they  are  right 
and  you  are  wrong.'  With  the  first  movement  of  the 
Schumann  concerto,  my  doubts  were  again  dispelled, 
and  as  the  work  proceeded  I  once  more  and  most  firmly 
became  convinced  that  for  charm,  poetry,  and  beauty 
Paderewski' s  playing  of  the  piano  outrivals  that  of  all 
other  pianists  I  ever  heard  in  my  life,  and  henceforth 
nobody  shall  ever  dare  again  to  shake  me  in  this  artistic 
belief." 

After  the  ice  had  thus  been  broken  in  Germany, 
Paderewski  consented  the  more  readily  to  attack  the 
citadels  of  Dresden  and  Leipsic.  His  triumphs  there, 
in  February,  1895,  were  perhaps  even  greater  than  in 
London,  Paris,  and  New  York.  "  The  success  was 
colossal,"  wrote  the  Leipzig er  Zeitung.  "Not  since 
Liszt  has  a  pianist  been  received  as  Paderewski  was  last 
evening."  "  Never  since  the  Albert  Hall  was  built  has 
such  a.pplause  been  heard  there  as  last  evening,"  wrote 
the  Anzeiger  ;  and  the  Tageblalt  of  Feb.  20  had  the  fol- 
lowing :  "Paderewski  has  for  some  years  been  enjoying 
the  greatest  triumphs  in  Austria,  France,  England,  and 
America,  but,  for  unknown  reasons,  avoided  Germany 
almost  entirely.  .  .  .  Concerning  his  colossal  success  in 
our  sister  city  of  Dresden  our  readers  have  already  been 
informed.  .  .  .  Such  positively  fabulous  enthusiasm  no 
other  artist  has  aroused  in  Leipsic  as  far  back  as  our 
memory  goes.  The  public  did  not  applaud,  it  raved. 
If  Paderewski  has  hitherto  avoided  Germany  in  the 
belief  that  he  might  be  coolly  received,  he  must  have 
been  radically  cured  of  that  idea  last  evening." 


AN  AL    [ED  ART 


IT  may  seem  strange  at  first  thought  to 
compare  a  Columbia  bicycle  with  the  fine 
arts.  Yet  what  other  standard  is  obtain- 
able ?  As  it  requires  the  skilled  hand  of  the 
master  of  colors  or  tones  to  blend  them  in 
perfect  harmonies,  so  only  the  masters  of 
mathematics  and  mechanics  could  have 
evolved  a  mechanism  so  harmonious  in  ac- 
tion, so  stanch  and  graceful  as  the  Columbia 
bicycle. 

The  manufacturing  of  the  modern  bicycle 
presents  one  of  the  most  complex  and  del- 
icate problems  known  in  engineering.  When  the  bicy- 
cle of  years  ago  weighed  from  fifty  to  sixty  pounds,  it 
was  an  easy  matter  to  make  it  so  strong  as  to  allow  a 
substantial  factor  of  safety,  but  when,  as  to-day,  the 
weight  is  reduced  to  twenty  pounds  or  so,  the  factor 
of  safety  is  necessarily  decreased  to  a  very  small  mar- 
gin and  the  greatest  care  must  be  exercised  to  make  the 
bicycle  strong  enough  to  carry  its  rider  over  all  kinds 
of  roads  with  certainty  and  safety.  There  can  be  no 
pleasure  when  one  has  continually  to  fuss  with  repairs 
or  adjustment. 

If  you  could  but  spend  a  day  in  the  great  factories  of 
the  Pope  Manufacturing  Co.,  at  Hartford,  Conn.,  it 
would  be  an  easy  matter  for  you  to  realize  wherein  lies 
the  secret  of  the  high  quality  of  the  bicycles  they  make. 
It  may  all  be  summed  up  in  the  one  word,  Care. 
Throughout  the  twenty -three  enormous  buildings  in 
which  twenty -four  hundred  men  are  employed  in  mak 
ing  Columbia  bicycles,  a  system  of  inspection  of  every 
detail  is  maintained  that  makes  it  almost  impossible  for 
an  imperfect  part  of  a  bicycle  to  go  forth.  Every  oper- 
ation. 


46 

ation  is  under  the  watchful  supervision  of  skilled 
engineers  and  experts,  and  the  entire  bicycle  comes  to 
completion  with  a  faultless  finish  to  every  part  and 
an  absolute  uniformity  obtainable  in  no  other  way.  Of 
course  this  adds  largely  to  the  expense  of  production, 
but  the  result  is  an  unequalled  quality  and  service  that 
have  made  Columbias  famous. 

Much  of  the  satisfaction  Columbia  bicycles  give 
their  riders  is  also  due  to  the  scientific  testing  depart- 
ment, which  is  a  unique  and  valuable  feature  of  the 
Columbia  plant.  Unlike  all  other  parts  of  this  great 
factory,  where  the  aim  is  to  put  together  and  build  up, 
the  effort  here  is  quite  the  reverse — to  pull  apart  and 
destroy.  The  most  expensive  and  intricate  machines 
have  been  devised  for  the  sole  purpose  of  determining 
exactly  how  great  a  force  is  necessary  to  wear  out  a  com- 
pleted bicycle,  or  to  bend  and  break  any  one  of  its 
various  parts.  In  order  to  make  the  strongest  bicycle 
it  is  necessary  to  know  what  makes  a  bicycle  weak  and 
exactly  how  much  power  of  resistance  should  be  pos- 
sessed by  each  individual  part,  and  to  find  that  out 
means  putting  such  an  excessive  strain  upon  the  frame, 
spokes,  axles,  cranks,  pedals,  forks,  etc.,  that  the  point 
at  which  they  will  break  may  be  accurately  determined. 

The  expense  of  maintaining  this  department  is  so 
great  that  no  other  bicycle  makers  have  felt  justified  in 
establishing  a  similar  one.  For  instance,  the  hundred- 
thousand-pound  compression  and  tension  machine  cost 
ten  thousand  dollars,  and  it  is  the  only  one  in  any 
bicycle  factory  in  the  world.  It  was  not  until  after 
months  of  experiments  with  this  machine  that  the 
Columbia  people  were  enabled  to  discover,  among  the 
hundreds  of  specimens  of  steel-tubing  which  they  tested, 
what  grade  of  steel  was  capable  of  giving  the  most 
favorable  results  in  the  various  parts  of  a  bicycle. 

Columbias  have  lately  been  further  advanced  by  using 
a  harder  quality  of  steel,  known  as  nickel-steel  (the 
same  that  has  given  such  splendid  results  in  the  guns 
and  armor-plate  of  the  Government),  and  all  Columbias 

now 


47 


now  turned  out  contain  this 
tubing  in  the  parts  which  are 
subjected  to  the  greatest  strain. 
Still  another  example  of  the 
severe  trials  to  which  Columbias 
are  subjected  is  the  way  in 
which  finished  bicycle-wheels 
are  tested  in  the  vibratory  ma- 
chine. This  consists  partly  of 
a  large  wooden  wheel  with  a 
number  of  heavy  cogs  of  various 
shapes  and  unequal  lengths 
projecting  from  the  circumfer- 
ence, the  purpose  being  to  pro- 


TESTING   BICVCLK   WHBE.'.S. 


be  found  on  the  stoniest  of  roads. 
Against  this  unequal  surface  the 
new  wheel  is  pressed.  Weight- 
ed with  a  pressure  equal  to  the 
weight  of  a  rider  of  from  one 
hundred  and  fifty  to  two  hun- 
dred and  fifty  pounds,  the  big 
wheel  is  set  in  motion,  and, 
making  one  hundred  and  sixty- 
two  revolutions  a  minute,  drives  the  wheel  at  the  rate 
of  thirteen  and  one-half  miles  per  hour,  thus  putting  a 
strain  on  it  many  times  more  severe  than  it  could  be  sub- 
jected to  over  any  conceivable  road.  Thirteen  hours  is 
the  average  for  a  wheel  to  be  kept  under  this  strain, 
but  the  Columbia  wheels  are  so  strong  that  they  have 
stood  the  test  without  the  slightest  defect  for  fifty  hours. 
This  is  but  one  of  the  many  testing-machines.  They 
know  no  partiality,  ror  do  the  workmen  of  the  testing 
department.  The  one  aim  of  the  tests  is  to  discover 
whether  there  is  any  bicycle  made 
that  can  endure  as  great  a  strain  as 
a  Columbia,  and,  if  so,  why. 

In  all  bicycles  except  the  Colum- 
bia, and   in   all   Columbias  except 

recent 


48 

recent  models,  the  cranks  have  been  fastened  to  tue 
crank-shaft  by  means  of  nuts,  with  projecting  pins 
and  keys  to  prevent  them  from  turning,  but,  no  mat- 
ter how  well  fitted,  such  devices  will  work  loose  and 
are  a  continuous  source  of  annoyance  and  danger.  No 
system  was  found  to  remedy  this  defect  until  the  new 
Columbia  crank-shaft  was  devised.  This  consists  of  an 
arrangement  by  which  the  crank-shaft  is  locked  in  the 
centre,  the  two  cranks  being  screwed  into  a  sleeve  at 
either  end,  one  with  a  right-hand  thread,  the  other  with 
a  left-hand  thread,  and  when  in  position  (the  adjustment 
being  very  simple)  the  cranks  and  crank-shaft  form 
practically  one  continuous  bar  of  steel,  as  solid  and  im- 
movable as  if  welded  together.  All  that  is  necessary  to 
remove  the  cranks  is  to  insert  a  pin  into  the  sleeve  of 
the  crank-shaft  and  unscrew  them  both  together  back- 
ward, and  in  this  way  the  cranks  may  be  removed 
without  detaching  the  chain.  This  remarkable  inven- 
tion, which  is  used  on  no  other  but  Columbia  bicycles, 
is  the  mechanical  sensation  of  the  year. 

It  is  perfected  appliances,  perfected  material,  such 
expert  workmanship  as  is  only  acquired  after  long  years 
of  experience,  and  unlimited  capital  that  gives  the  Co- 
lumbia those  qualities  of  beauty,  speed,  and  stability 
which  make  it  the  Standard  for  the  World. 


7VL;L;   the   Comforts  of  ]4ome   for  14  Pupils   at   NJISS5  ' 


,    Irvington,  JM.  Y.      ©peat   attention   paid   to   health   and 
individual   needs.        Full   courses   fpom   primary   to    college    prepapatopy. 


o 


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Influenza, 

AND    ALL    MUSCULAR    PAINS. 


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Madame   Caroline's 

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Hair  Restorer. 

My  preparations  are  far  su- 
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ions. The  Ne  Plus  Ultra  Face 
Beautifier  removes  tans  and 
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without  any  paiu  whatever. 
A  stronger  kind  is  used  for 
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THE   LOOKER-ON. 

fTDusicaL    .:.    Dramatic.    .:. 


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under  Miss  Kate  S.  Chittenden,  makes  possible  to  prospective  teachers  Ihe  great 
advantages  of  the  Synthetic  Method  of  Piano  Teaching,  as  originated  by  Mr. 
Parsons  and  established  through  Miss  Chittenden's  editorship  of  the  Synthetic 
publications. 

Department  c"  Theory  rnd  Ccr.  .jositicn.  Harry  Rove  Shelley, 
Principal. 

Department  Of  Organ.  R.  Huntington  Woodman,  Principal.  Instruc- 
tion in  thn  department  given  by  Mr.  Buck  rrd  Mr.  Shr  IHv  also. 

The  Department  Of  Violin,  under  Clifford  Schmidt,  the  eminent  con- 
cert master  of  the  Seidl  Orchestra,  in  conjunction  with  the  Pianoforte  Depart- 
ment, secures  to  the  College  the  important  advantage  of  the  study  of  chamber 
music  and  general  ensemble  practice. 

Ht^°A  special  feature  is  the  Residence  Department  for  Ladies, 
where  a  limited  number  of  pupils  from  a  distance  are  accommodated  with  board 
and  every  facility  for  practice  and  study. 

DUDLEY  BUCK,    President. 

A.  R.   PARSONS,   Vice-President. 

H.   R.    SHELLEY,   2d  Vice-President. 

H.    W.   GREENE,    Principal   Voice   Dep't. 
_   M.   E.    PALMER,   Treasurer. 

Regular  Course,  $2OO.OO  per  year.    Send  for  catalogue. 

JOHN  CORNELIUS  GRIGGS,   Secretary. 


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xii 


SECOND  ENLARGED  EDITION. 

"FROM   THE  TONE   WORLD.1 

ESS  A  YS  BY  LOUIS  EHLEKT. 
Translated  from  the  German  by  HELEN  D.  TRETBAR. 


CONTENTS: 

Carl  Tausi.T.— Robert  Schumann  and  His  School  —Frederic  Chopin.— Felix  Mendelssohn  Bartholdi. — 
Robert  Volkmann. — Tristan  and  Isolde,  by  Richard  Wagner  (2  Essays). — The  Stage  Festival  at  Bay- 
reuth  —A  Scene  from  "  Die  Meistersinger."— Offenbach  and  the  Second  Empire.— Gervinus  and  Purely 
Instrumental  Music.— Music  Teaching  and  the  Public. — Wagner,  Makart,  and  Hammerling.  A  Parallel. 
— Gounod  contra  Wagner.— Johannes  Brahms.— Wagner's  Parsifal.— Liszt  as  an  Author.— Concerning 
Polygraphy. — Music  and  Sociability. 

400  pages,  cloth,  $1.50.     Mailed  upon  receipt  of  price. 
Published    by    C.    F.    TRETBAR,     109    East    i4th    Street,    New    York. 


THIRD    THOUSAND. 
ANTON    RUBINSTEIN'S 

"A  CONVERSATION    ON    MUSIC." 

Translated  for  the  Author  by  Mrs.  JOHN  P.  MORGAN.     Cloth,  $1.00. 
Mailed  free  upon  receipt  of  price. 

Copyright,    1892,    by    CHARLES     F.    TRETBAR,    Steinway    Hall,    New    York. 


THE  M.  STEINERT  COLLECTION  OF 

KEYED  AND  STRINGED  INSTRUMENTS. 

With  various  Treatises  on  the  History  of  these  Instruments,  the  Method  of  Playing  them,  and  thet: 

Influence  on  Musical  Art. 

By  MORRIS  STEINERT,  New  Haven  Conn.     Illustrated. 
Price:  Paper,  $1.00;  Cloth,  $1.50. 

Published   by    CHARLES    F.    TRETBAR,    Steinway    Hal!,     "'   w    York. 
PADEREWSKI,  IGNACE  J.     Op.  18.     Six  Songs  for  Sop.  or  Alto. 


No.  i.     My  tears  were  flowing  I  ...sects. 

Mir  flossen  Thrancn      )" 

No.  a.     Wand'ringalopg)     _  ...6octs. 


Ith  geh'  entlang 


Mo.  3.    My  sweetest  darling  I  ..jscts 

Mein  siisser  Liebling  j  ' ' 


No.  4.     Over  the  waters        I  _,  rta 

Ueberdem  Wasserj" 

No.  5.    Ah,  what  tortures  )  Cnct<5 

Ach  die  Qualen.     ) 

No.  6.     Were  I  the  ribbon  \ 

Konnte  ich  das  Stirnband  t  " 


Published    by    CHARLES    F.    TRETBAR,    Steinway    Hall,    New    York. 


STEINWAY 

(3ran6  flManos, 
{Upright  flManos. 


Steinway  &  Sons'  Pianos  are  preferred  for  private  and  public  use 

by  the  greatest  living  artists,  and  endorsed,  among 

hundreds  of  others,  by  such  as: 


FRANZ  ABT, 

D.  F.  E.  AUBER, 
CARL  BAERMANN, 
HECTOR  BERLIOZ, 

E.  M.  BOWMAN, 
FELICIEN  DAVID, 
ALEX.  DREYSCHOCK, 
ARTHUR  FRIEDHEIM, 
CHARLES  GOUNOD, 
STEPHEN  HELLER, 
ADOLPHE  HENSELT. 
ALFRED  JAELL, 
JOSEPH  JOACHIM, 
RAFAEL  JOSEFFY, 
THEODORE  LESCHETIZKY 
DR.  FRANZ  LISZT, 

A.  MARMONTEL, 

DR.  WILLIAM  MASON, 


LEOPOLD  DE  MEYER, 
S.  B.  MILLS, 
IGNATZ  MOSCHELES, 
ADOLPH   NEUENDORFF, 
ALBERT  NIEMANN, 
IGNACE  J.  PADEREWSKI, 
MORIZ  ROSENTHAL, 
ANTON  RUBINSTEIN, 
NICOLA  RUBINSTEIN, 
FRANZ   RUMMEL, 
CAMILLE   SAINT-SAENS, 
XAVER  SCHARWENKA, 
ANTON  SEIDL, 
WILHELM  TAUBERT, 
AMBROISE  THOMAS, 
THEODORE  THOMAS, 
FERD.  VON  INTEN. 
RICHARD  WAGNER, 


RUDOLPH  WILLMERS, 
CARL  WOLFSOHN, 

AND    BY    MESDAMES 

ADELE  AUS  DER  OHE, 
FANNIE  BLOOMF1ELD- 

ZEISLER, 

ANNETTE  ESSIPOFF, 
ETELKA  GERSTER, 
MINNIE  HAUK, 
EMMA  JUCH, 
MARIE  KREBS, 
LILLI    LEHMANN, 
ANNA  MEHLIG, 
PAREPA  ROSA, 
ADELINA  PATTI, 
SOFIA  SCALCHI, 
TERESA  TITIENS, 
ZELIE  TREBELLI,  ETC. 


ILLUSTRATED  CATALOGUES  MAILED  FREE  ON  APPLICATION, 


STEINWAY  &  SONS, 


WAREROOMBi 


Steinway  Hall,  107=111   East  i4th  Street,  New  York. 


-EUROPEAN    DEPOTS  :- 


STEINWAY  HALL, 

15-17  Lo.  Seymour  St.,  Fortman  Sq.,  W., 

LONDON,  ENGLAND, 


STEINWAY'S  PIANOFABRIK, 

St;  Pauli,  Me  Rosen-Strasse,  20-24, 

HAMBURG,  GERMANY. 


Have  been  awarded 

A  GRAND  GOLD  flEDAL 

—  AT    THE  — 

International   Inventions   Exhibition,  London,  1885. 

"  For  General  Excellence  of  their  Pianos,  and  for  Sev- 
eral Meritorious  and  Useful  Inventions  ; "  and  also  a 

SPECIAL     GOLD     MBDAL 

From  the  Society  of  Arts,  London,  1885. 


TWO  SPECIAL  DIPLOMAS  OF  MERIT, 

Sidney  International  Exhibition,   1879. 
TWO    HIGHEST   AWARDS, 

International  Exhibition,   Philadelphia,  1876. 

GRAND  NATIONAL  GOLD  MEDAL, 

WITH   CROWN  AND   RIBBON, 

From  his  Majesty,   King  Charles  XV.,  of  Sweden,   1868, 

FIRST   GRAND    GOLD    MEDAL, 

Exposition  Universelle,  Paris,  1867. 

GRAND  TESTIMONIAL  MEDAL  AND  MEMBERSHIP, 

From  Societe  des  Beaux  Arts,  Paris,  1867. 
FIRST    PRIZE    MEDAL, 

International   Exhibition,  London,  1862. 


Also  more  than  thirty-five  First  Premiums  at  American  Exhibitions,  and  Testimonials 

from  the  most  eminent  Musicians,  Composers,  and  Artists  in  the 

World,  who  all  unite  in  the  Unanimous  Verdict  of  the 

SUPERIORITY  of  the  STEINWAY  PIANOS  overall  OTHERS. 

Every  Piano  Fully  Warranted  for  Five  Years. 
J^~  Illustrated    Catalogues    mailed    free    upon    application. IgE 


STBINWAY    &    SONS, 

WAREROOMS,  STEINWAY  HALL, 

Nos.  107,  109  and  in  Hast   14111   Street,  New  York. 


MY  DEAR  MR.  STEINWAY. 


BAYREUTH,  1879. 


From  your  communication  I  readily  per- 
ceive with  what  enthusiastic  love  you  seek  to  attain 
the  incorporation  of  the  most  "  spirituelle  "  tone  into 
the  piano,  which  has  heretofore  served  only  as  the 
exponent  of   actual   musical   sound.     Our  great   tone 
masters,  when  writing  the  grandest  of  their  cr.  . 
for  the  pianoforte,  seem  to  have  had  a  present';   ~nt  of 
the  ideal  grand  piano,  as  now  attained  by  yo 
A  Beethoven  Sonata,  a   Bach  Chromatic  Fantasy, 
only  be  fully  appreciated  when  rendered  upon  one  oi 
your  pianofortes. 

Although  I  do  not  possess  the  slightest  dexterity 
in  pianoforte  playing,  I  delight  in  being  able  to  do 
justice  to  your  assumption  of  my  inborn  and  cultivated 
sense  of  tone.  For  sounds  of  such  beauty  as  those 
coming  from  my  Steinway  grand  natter  and  coax  the 
most  agreeable  tone-pictures  from  my  harmonic  melo- 
dic senses. 

IN  A  WORD,  I  FIND  YOUR  GRAND  PIANO  OF  WON- 
DROUS BEAUTY.  IT  IS  A  NOBLE  WORK  OF  ART. 

RICHARD   WAGNER. 


MR.  STEINWAY. 


WEIMAR,  1883. 


My  Esteemed  Sir :  Again  I  owe  you  many  and 
special  thanks.  The  new  Steinway  grand  is  a  glori- 
ous masterpiece  in  power,  sonority,  singing  quality 
and  perfect  harmonic  effects,  affording  delight  even  to 
my  old  piano-weary  fingers.  Every  continuing  suc- 
cess remains  a  beautiful  attribute  of  the  world-re- 
nowned firm  of  Steinway  &  Sons. 

In  your  letter,  highly  esteemed  sir,  you  mention 
some  new  features  in  the  grand  piano,  viz.:  the  vibrat- 
ing body  being  bent  into  form  out  of  one  continuous 
piece,  and  that  portion  of  the  strings  heretofore  lying 
dormant  being  now  a  part  of  the  foundation  tones, 
and  incorporated  therein  as  partial  tones.  Their 
utility  is  emphatically  guaranteed  by  the  name  of  the 
inventor. 

Owing  to  my  ignorance  of  the  mechanism  of  piano 
construction,  I  can  but  praise  the  magnificent  result  in 
the  volume  and  quality  of  sound. 

Very  respectfully  and  gratefully, 

FRANZ   LISZT. 


xvi 


Manner 

i 

TESTIMONIALS 

1 

XiS3t 

STEINWAY  &  SONS 


GRAND 
PIANOS 


UPRIGHT 
PIANOS 


MA  NUFA  CTURERS 
BY^APPOINTMKNT  TO  HIS  MAJBSTY 

EMPEROR  WILLIAM  II.  OF  GERMANY, 

AND 

THE  ROYAL  COURT  OF  PRUSSIA. 


HER  MOST  GRACIOUS  MAJESTY 

THE   QUEEN   OF   ENGLAND. 


THEIR  ROYAL  HIGHNESSES 

THE  PRINCE  AND  PRINCESS 

OF  WALES. 
THE  DUKE  OF  EDINBURGH. 


HIS  MAJESTY 

UMBERTO  I.,  THE  KING  OF  ITALY. 


HER  MAJESTY 

THE  QUEEN  OF  SPAIN. 


ITALY.  SPAIN. 

HIS  MAJESTY  EMPEROR  WILLIAM   II.  OF  GERMANY, 

On  June  13, 1893,  also  bestowed  on  our  Mr.  WILLIAM  STEINWAY  the  order  of  THE  RED  EAGLE, 
III.  Class,  an  honor  never  before  granted  to  a  manufacturer. 


THE  ROYAL  ACADEMY  OF  ST.  CECILIA  at  Rome,  Italy,  founded  by  the  celebrated  composer  Palestrina 
in  1584,  has  elected  Mr.  William  Steinvray  an  honorary  member  of  that  institution.  The  following  is  the 
translation  of  his  diploma: 

"  THE  ROYAL  ACADEMY  OP  ST.  CECILIA  have,  on  account  of  his  eminent  merit  in  the  domain  of  music, 

and  in  conformity  to  their  Statutes,  Article  12,  solemnly  decreed  to  receive  William  Steinway  into  the 

number  of  their  honorary  members.    Given  at  Rome,  April  15, 1894,  and  in  the  three  hundred  and  tenth 

year  from  the  founding  of  the  Society. 

"ALBX.  PANSOTTI,  Stcrttary.  E^I  SAN  MARTINO, 

ILLUSTRA  TED  CA  TALOGUES  MAILED  FREE  Off  A  PPL  1C  A  TION. 


STBINWAY    &    SONS, 

Warerooms,  Steinway  Mall,          -          107-111  East  i^th  Street,  New  York 

European  Depots: 

STEINWAY  HALL,                          I  STEINWAY'S     PIANOPABRIK. 

if  and  17  Lower  Seymour  St.,  Portman  Sq.,  W.,  St.  Pauli,  Neue  Rosen-Strasse,  ao-«4» 

LONDON*  ENGLAND.  HAMBURG,  GERMANY. 


%  6  *  8 


UNIVERSITY  OF  CALIFORNIA  AT  LOS  ANGELES 

THE  UNIVERSITY  LIBRARY 
This  book  is  DUE  on  the  last  date  stamped  below 


14  1944 

•JAN  10  19471 


L1(= 
APR  1  01952 


JANe    1994 


OE&^e- 


JAN     4  1967 


Form  L-9 
20m-12, '39(3386) 


MAR  2    1970 
MAR  2   1970 


MAfi  2  '  td 


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DEC  16'  """1 
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